BUREAU of ARTS and CULTURE MAGAZINE: LOS ANGELES: CINEMA

CINEMA

MISTER HAL ASHBY

BY J. A. TRILIEGI SPRING 2016

The American Film Director, Hal Ashby, created a series of groundbreaking and wholly original, cinematic gems, throughout his life. Each are deeply rooted in a darkly humanist, yet extremely touching mode of thinking. Since that time, few directors have ever been able to emulate, let alone imitate his contribution. Born on a farm, in Ogden, Utah, to a father who refused to modernize the family business, leading to financial disaster and eventually suicide. In 1941, at twelve years of age, young Hal Ashby is scarred deeply by his fathers death. Americans enter into World War II and young Hal identifies the war machine with the loss of his father. He will forever become a peace activist, the rest of his life. Hal works his way up from office boy at Universal Studios to Apprentice Editor at Republic Pictures, to Assistant Editor for some of the Best directors in the business, including, George Stevens and William Wyler. In those days, not unlike these days, one had to choose projects that might help one rise to position. Ashby had to quit working for Steven's, in the middle of a production of, "The Greatest Story Ever Told," released in 1965, to take over on a new project for Wyler, and the rest is history. Hal became Chief Editor, which led to an Oscar Award by The Academy of Motion Pictures Arts and Sciences in 1965 for, "In The Heat of The Night," starring Sidney Poitier, directed By Norman Jewison, with a highly sensitive, race related screenplay. One can imagine George Steven's reaction, as Hal Ashby, his former assistant editor, received the Academy Award for work as Lead Editor the same year Steven's four and a half hour epic project was released. Ashby's collaboration with Jewison eventually leads to a directorial debut, five years later, with, 'The Landlord.' A comedy about a wealthy young white boy, thrust into owning and managing an apartment building, in the heart of New York Cities urban life, during the rise of black power groups, such as The Black Panthers. The film stars a young, wide eyed, Beau Bridges and is available for viewing on you tube, in its entirety. A hilarious, and most likely, self referential project, possibly describing Ashby's own journey from farm to city, from innocence to experience, from Utah to Hollywood : The Truly, 'Cultural Education,' that no simple degree from any major or minor university can ever hope to provide.

Throughout the decade of the 1970s, Hal Ashby will create a hand full of films that break genres, make genres, and in general, piss off the critics and win over a youth culture that will eventually become the group of people, here in America, that are now in their sixties. Harold and Maude, The Last Detail, Coming Home, Shampoo, Bound For Glory and to this writers mind, his masterpiece, entitled, "BEING THERE". Starring Peter Sellars, as described by David A. Cook, "An idiot savant gardener, whose knowledge of the world comes exclusively from television." During the same year that films such as, "The Jerk," with Steve Martin, Woody Allen's, "Manhattan," Monty Python's, "Life of Brian," and more serious toned projects like, "Apocalypse Now," "Norma Rae," and, "The China Syndrome," are released, Hal Ashby's North Star productions releases: BEING THERE. Another notable film, in that year of 1979, one that actually gains momentum from Ashby's style and tone, would be the fabulous look at life on the road as a rock and roll singer with Bette Midler's debut film, "The Rose," possibly, and still to this day, one of the greatest and most authentic takes on The Rock and Roll Lifestyle, which Ashby had also experienced first hand, while creating a Documentary on The Rolling Stones. Ashby did not just document, he actually lived the lifestyle and, it is reported, that he overdosed while doing so. He should not be judged too harshly in this regard. Laurel Canyon, where he resided, was a seriously saturated scene of hipsters, of a wide variety. Ashby had been very good friends with Jack Nicholson since their days at Metro in the mid fifties. He lived next to Carol King, just across from Spielberg and around the corner from Fleetwood Mac and Alice Cooper. Hal's producer Charles Mulvehill, is actually referenced in the Nicholson, Classic Film Chinatown, directed by Roman Polanski and produced by Robert Evans. These were heady times in Hollywood and the power base, the political expression and the artistic purity has never been so intertwined, before or since that time. Warren Beatty may not have ever directed the epic production of REDS, had it not been for Hal Ashby, and their work on SHAMPOO. Hal Ashby made directing films look easy, I can assure the reader that, directing a major motion picture, is Anything Except: EASY.

The most important aspect of filmmaking is collaboration and Hal Ashby, over his entire career worked with six of the best Cinematographers in the business, including : John Alonzo in Harold and Maude, Gordon Willis in The Landlord, Michael Chapman in The Last Detail, Haskell Wexler in both, Bound For Glory and Coming Home and finally, Caleb Deschanel in Being There. All six went on to make a roster of classic films and many still around, doing the best work in the business. During the filming of Coming Home with Jane Fonda, Bruce Dern and Jon Voight, Haskel Wexler's son, who had been working in the sound department, expressed his concerns about Mr. Ashby's direction, to his father. According to Peter Biskind, in his classic book, "Easy Riders and Raging Bulls," Wexler's son told Haskel that, "Were in big trouble," describing the now classic scene where Jon Voight, a returned and handicapped Vietnam Veteran talks to a young group of students about joining the armed forces. "It just doesn't work," he explained, describing the days shoot, Hal, it appeared, simply allowed Jon to ramble on, allowed for improvisation and it seemed muddled. Haskel Wexler, knowing very well that Ashby, having once been one of the best film editors in the business, would simply make it happen, in the editing, responded accordingly, "Give it a chance, you know the way Hal is in the editing room," Sure enough, he put a great scene together, and to quote Biskind, "… Probably won Jon [ Voight ] the Oscar." It is rumored that, the film, "Being There," may have actually been taken away from Hal Ashby, halfway or three quarters of the way through the production, either due to his health, or due to other power scrambling reasons. Because of the connection between actor Peter Sellers, who also worked very closely with Stanley Kubrick, it is said, among Hollywood circles, that Kubrick may have stepped into the production, and or had a hand in somehow assisting the production along. These facts are difficult to verify, but definitely worth noting. Especially since Mr. Kubrick, who worked closely with NASA, and is indeed credited with assisting the United States Government of the late Nineteen Sixties, with propagating and creating a vision of a moon landing that has, to this day, been questioned and denied, in circles of science and theory, as much as Global Warming is today. In many power circles, the deaths of Hal Ashby, Stanley Kubrick and the writer of "Being There," Novelist Jerzy Kosinski, have been pondered, questioned and theorized. Jack Nicholson would go on to work for Kubrick the following year in, "The Shining," and did not at all enjoy the process. When asked what it was like to work for Kubrick ? In his trademark style and grin, Jack famously paused, then wryly remarked that, working with Stanley Kubrick, "Brings New Meaning To The Word : M-e-t-i-c-u-l-o-u-s."

The Shining Film Production itself, according to film analysts and theorists, is a project which is supposedly packed with coded messages of a wide variety, and, on second look, there are many. Rubric's constant references to his involvement with the controversy surrounding his relationship with NASA and the original filming of his classic space film, "2001 : A Space Odyssey," loosely based on the book by Arthur C. Clark, are peppered throughout, "The Shining". The young boy, haunted by ghosts, wears a NASA space ship on his sweater. Thus symbolizing Rubric's history with the space myth, that he may have helped to propagandize. Kubrick, who had risen from Life Magazine photographer to someone who had been used by the power base to create an image that would eventually end up on the cover of LIFE, The Special Edition, with Buzz Aldrin and the phrase in bold capitals: To The Moon and Back. The few astronauts who have been given a chance to speak on the matter, have too, recently made statements that appear to be coded with regret and inference to the possibility that something, indeed was not correct about the journey and or the official story. The only image in US history that has been scrutinized more than the Life Cover Image is the Other LIFE Cover of the false shadowed image of John F. Kennedy's so - called lone assassin, Lee Harvey Oswald. In, "The Shining," the two girls haunting the young boy in the hallway are meant to represent two particular sides of a single event, the real story and the official story, the elevator representing the spaceship. Since our publication also celebrates great photographers, this would also be a good time to credit Diane Arbus, whose original series on Twins obviously inspired Stanley Kubrick. In "2001: A Space Odyssey," The astronaut is forced to fight with the machine, after several of his space mates have died, his main goal is to turn off the machine, which is named, HAL. It has been stated that Kubrick had originally meant to utilize the initials from the leading technology company of the time, IBM, and transformed or coded those initials by simply adjusting each letter, one step closer to their previous letter in the alphabet, thus I becomes H, B becomes A, and M becomes L, I-B-M turns into H-A-L. Though, those who like to consider circles of power, have made intimations of another variety concerning Kubrick, who had moved to the Empire of England, and his relation and or ideas about Ashby, who was a stone cold American liberal, with his heart firmly rooted in humanist, films, ideas and causes. Throughout his lifetime, Hal Ashby stood strong for values of freedom of expression, and was always on the side of the underdog, politically speaking. Hal Ashby had met with Cesar Chavez, he had attended Martin Luther King's funeral and upon receiving his Oscar, simply wished for peace to prevail and walked off with a Thank You.

The reader should re-look at the afore mentioned films and decide for yourself, if indeed, Stanley Kubrick attempted to share with the viewer, his personal history. It should be noted that filmmakers of this period, were very aware of each others work, and Nicholson's scene, early on, in "The Shining," where he sits in the office, discussing the new job opportunity, is a replica of his scene, entering the insane asylum, in his award winning film, "One Flew Over The Cuckoo's Nest." Possibly Kubrick's in joke, that this particular production, was going to drive the actors crazy, and on reflection, many did feel that Rubric's methods were unsound. Speaking of films of the year Nineteen Seventy-Nine and unsound method's, is, "Apocalypse Now," referencing anything in this regard when Willard, played by Martin Sheen, explains to his fellow marines, describing Marlon Brando's dictatorially position in the jungles of Vietnam, "…Method ? I don't see any Method at all ?"

"… No matter the darkness of their lives,

no matter the times they endured,

the ways in which they lived or the

power circles they travelled in,

we as purveyors of fine culture,

must honor those works."

It is well known that Coppola needed Brando's participation and ended up paying out an exorbitant daily rate, for what had been an unprepared performance. It should also be recognized that both Francis Ford Coppola and Robert Altman, two of the strongest directors to emerge from the 1970s, were ten years younger than Hal Ashby and according to writer Joe McBride, "Ashby deserves to be ranked with [ them ]." We agree. However and whatever the facts may be, the films and works of art these men made, no matter the darkness of their lives, no matter the times they endured, the ways in which they lived or the power circles they travelled in, we as purveyors of fine culture, must honor those works. And so today, on the eve of a national election, we take another look at Mr. Hal Ashby's political fairy tale, "BEING THERE."

BUREAU FILM : BEING THERE

The first words spoken by a human being in the film production of, "Being There," are whispered by a black maid, into the ears of our hero: Chance. Played brilliantly by actor Peter Sellers. "He's dead Chance, the old man's dead…" She delivers the line like the blues singer, Nina Simone, whispering in the show tune, 'Pirate Jenny,' that a death has occurred, over night, and nothing will ever be the same again. "What are you going to do now, " she asks Chance ? And his simple reply, "I'm going to work in the garden." And thus begins the strange, fairy tale-like journey, from the hermetically sealed life of a simple, child-like man, once cloistered in the small garden of a private home in Washington D.C. for all of his known life, now released into the world, simply by accident, or so it would seem.

"Chance's Journey Takes us Deep Into the

Worlds of Symbolic Power, the Influential

Halls of Government and Quite Possibly

into the Presidency of The USA."

Chance's journey takes us deep into the worlds of symbolic power, the influential halls of government and quite possibly into the Presidency of The USA. Louise the maid continues, "You ought to find yourself a lady, Chance… You always gonna be a little boy ain't you ? " As the body of The Old Man is carried out on a stretcher, the maid, who has taken care of Chance all his life, says good — bye, she appears surprised that he has no ability to express his feelings, regarding her leaving, or the old man's death. As the body is carried out, she insists on leaving before the remains of her employer does, and, her parting comment, while looking at the body, covered by a white sheet, "… He used to be a big man, suppose he waisted away to nothin'." As she walks out the front door, leaving Chance alone, in the home, for the first time in his life.

Televisions surround the entire home, one in the kitchen, one in the bedroom, even a television in the garden. Chance consistently mimics the activities that he views on the little television box of images with and endless barrage of gestures, sayings and rituals. If the lady in tights exercises, than Chance exercises. If the driver of an old horse and buggy tips his hat, than Chance too, tips his hat. If the president shakes hands by holding both hands to a guest, than Chance too uses both hands.* In the scene following Louise and the Old Man's exit, two lawyers, using their own key, a man and a woman, enter into the Old Man's home, unbeknownst to Chance, who sits quietly, watching television, as he has most likely done for the past few decades, untouched by the outside world.

"Chance will utilize an activity, a phrase, a ritual,

a gesture, a term, and it shall be interpreted

in a much wider variety of ways,

than he may have intended."

They introduce themselves as the Old Man's lawyers, his estate is to be settled. "Were with Franklin-Jennings and Rogers, the firm handling the estate." Chance answers, very casually, "Hello… I'm Chance the gardener." And indeed, he takes their hands, as he saw The president do, and greets them accordingly. They are both taken aback by the gesture. This will be the first of many such incidents throughout the film. Chance will utilize an activity, a phrase, a ritual, a gesture, a term, and it shall be interpreted in a much wider variety of ways, than he may have intended. Chance is an open slate for the projection of the beholders perceptions, experience or intentions, be them good, bad or indifferent. And throughout the journey, he meets them all.

*A historical note, Writer David A. Cook, describing the film and its context, reminds us that in the 1970s the average viewer watched seven hours a day of television, the public dilemma was so pervasive that the problems of American's addiction to watching television had actually been debated throughout the very halls of public policy. To use a phrase that was commonly blasted across advertising billboards during that time, "We've Come A Long Way Baby." These days, in 2016, those in power, actually hope we all just sit on our asses and watch television. The populist's participation in the Nineteen Sixties scared the hell out of those in government, and these days, they are indeed pleasantly satisfied that a good majority of Americans care more about awards shows, sports games and the private lives of entertainers, than protesting an issue, voting and getting directly involved in local, state and national dissertations in USA.

The male lawyer, Thomas, who is obviously perturbed by the presence of an unexpected individual, eventually loses his patients, "All kidding aside, Mr. Chance, may I ask what you are doing here?" Chance, in all his simple and honest, open faced sincerity responds, quite simply, "I live here." Thomas, looking over his papers replies, "There is no mention of a gardener… Just how long have you been living here, Mr. Chance?" Now the female lawyer, Miss Hayes, has become intrigued by the situation. "Ever since I can remember," Chance explains, "Since I was a child. I have always worked in the garden." "Than You really are a gardener," She delves? "Yes," Chance replies. By this time, Thomas, is visually flustered, "We will need some proof of you having lived resided here, Mr. Chance." He smiles, "You have me, I am here. What more proof do you need," Chance asks? Their conversation eventually reveals that not only has Chance never driven a car, he has actually never been allowed outside the house. He is the symbol of a baby having not been born yet, a pure product, educated almost entirely by television, with the exception of a few servants and the occasional visitor. He has no identification, he has no bank account, he does not exist on paper. The repartee continues in this vein until, eventually Chance understands that he must leave home.

" My Plans are to Work in My Garden."

- Chance The Gardener / Being There

When asked, what he will do, what his 'Plans,' are ? Chance answers with the only plans he has ever had, the only thing he knows, "My plans are to work in my garden." There is a deep and arching idea of the existence of god throughout the film. The use of the music, "Thus Spoke Zarathustra," also utilized in, "2001: A Space Odyssey," is used again here, but this time, the very urban and hip version. On the one hand, this film attempts to level the playing field, at the same time, it's direct use of the most basic and oldest power symbols, poke fun at both the populist and the politicians alike. As Chance enters into society, he speaks to the locals about tending the garden. A group of young urban kids, threaten him, he senses the danger, yet does not panic. He see's a women who looks like Louise and asks her for lunch. Eventually, Chance gets distracted by his own image on a television that sits in the window of a store front, while he attempts to cross the street, he is pinned between a limousine backing up and a parked car. Formally dressed, in the old man's suit, hat and umbrella, and, taken for a Washington DC gentlemen of power and stature, he is invited inside the limo, so a doctor can check his leg, and thus begins the journey, into the houses of power. And at this juncture dear reader, I leave you wondering what happens next. In hopes that you will watch this fine piece of Cinema as soon as possible. As well as any film by director Hal Ashby.

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FILM SECTION: INTERVIEWS . REVIEWS . ESSAYS . ARTICLES

BERT STERN: ORIGINAL MAD MAN . ON THE SET: RAGING BULL SCREENWRITER: GEORGE CLAYTON JOHNSON . INTERVIEW : DIRECTOR DOUG PRAY . INTERVIEW : TOM DONAHUE . BILLY MIZE AND THE BAKERSFIELD SOUND . INTERVIEW : MARNI ZELNICK . INTERVIEW : DAVID L. LEWIS . INTERVIEW: DEON TAYLOR. STARRED UP. 12 MUST SEE FILMS AND WHY. ON THE ROAD. HESHER. BIG WEDNESDAY . MARTIN SCORSESE. PARIS TEXAS. TO KILL A MOCKINGBIRD. MARLON BRANDO. THE UNBEARABLE LIGHTNESS OF BEING . ORSON WELLES . QUIZ SHOW at TWENTY . JAMES DEAN . AKIRA KUROSAWA . THE BEAUTIFUL COUNTRY . DO THE RIGHT THING . TRIUMPH OF THE WALL

BERT STERN: ORIGINAL MAD MAN

An original & personal film created by one of Bert's Stern's longtime photographic subjects. This film is an insiders look at Mr. Stern's life, career, his history & approach to creating the images that the world of photographers and collectors have come to admire , appreciate and purchase as well as publish. Mr. Stern is famous for creating iconic portraits of Marilyn Monroe, Elizabeth Taylor, Audrey Hepburn and the more contemporary models and actresses through the years and up to the present day, including Lyndsey Lohan and Kate Moss. This is a home movie of sorts, sometime vague, other times exacting, sometimes personal, other times professional. Bert Stern has run the gamut, he's a character, an old schooler from the golden era of advertising. Most famously photographing what became Marilyn Monroe' s final photo- graphic session for Vogue Magazine. Mr Stern was in the thick of New York when photographs became the chosen media for advertisements which up to that time relied heavily on drawings, graphics and illustrations. Bert Stern is an artist who happened upon a camera and, as many professionals will testify, trans- formed the industry of photographic advertising, portraiture and selling an image. This film is a casual look at Mr Stern, told by Bert Stern himself, over a glass of wine, breakfast, after hours conversations. We meet his loves, his successes, his foibles and witness his comeback from a forgotten and obscure iconic image maker to a collected and respected lion of the industry. This is a good introduction to Mr Stern who continues to somehow keep himself in the public eye, through controversy as well as revisiting the themes and images that made him famous to begin with. The film is presented by First Run Features which has a large volume of documentaries on interesting, controversial and obsessive personalities like Ferlinghetti, Phil Ochs, Mumia, Charles & Ray Eames, Howard Zinn, Harper Lee, Fidel Castro and Erroll Garner among others. In the politically correct world of today's film and filmmakers, First Run Features has a brave catalogue of feature documentaries that are controversial, entertaining and fiercely original. Look for more Reviews of their films here at The BUREAU. www.FirstRunFeatures.com

BIG WEDNESDAY " Nobody Surfs Forever "

A Thirty Five Year Anniversary Appreciation By Joshua A. TRILIEGI

It's hard to believe that thirty five years have passed since this classic surf film about California and specifically Malibu beach surfing culture, characters and history had its debut. Upon re watching this classic film recently, I was drawn into a kind of nostalgia that reminded me of other classic films from the seventies that seem to define the formative years here in California. American Graffiti being the other fine example of a piece of cinema that celebrates, defines & indeed explains to outsiders what it was like to be a part of a California subculture that has since gone mainstream: Classic Cars.

Big Wednesday does the same thing for Surfing. These days surfing and its nearest offspring, skateboarding, are world renown industries owned by a hand full of companies, corporations, associations and ecologically informed non-profit organizations. But back in the day, guys like Leroy, Jack and Matt made California surfing. The lifestyle and its loyalty to expressing ones self with nature was a coveted and special relationship that each surfer had on his or her own. It was a private experience one had with the waves, the coast, the ocean, the earth itself. It is a sacred thing to drop in on a wave and ride it as long as one is able. Honing a craft, one-second at a time, in unison with mother nature. Simply, a person, their craft and the ocean itself relating to one another.

There are the documentaries by Bruce Brown: Endless Summer and the like. As well as a catalogue of other classics such as Five Summer Stories & the others within the genre. More recently Stacy Peralta' s Dogtown Documentary & subsequent Lords of Dogtown as well as his Big Wave Surf documentaries have added more information to surfing dialogue. But still and all, Big Wednesday is king. I know because I grew up and witnessed the tail end of this particular period and hung out with and admired the older guys who were a part of this important period in West Coast & specifically Southern California surf culture. Big Wednesday captures the music, the friendship, the heroic stature, the generation to generation torch passing, the gaining your friends/losing your friends aspect of growing up. The original musical compositions by Basil Poledouris and theme songs hold up just fine. Nothing is too trendy or dated, The costumes, sets, locations and acting are what we call pitch perfect. The props and logos have become legendary. The BEAR logo to this day is being reprinted and celebrated on sweatshirts, classic cars and stickers. Big Wednesday is a classic film in the Warner Brothers catalogue that helped to redefine a generation of West Coast culture: surfing, skateboarding and the California cool that people from all over the world appreciate, envy and honor, sometimes more than the locals themselves.

The actors actually did most of their own surfing in this film, which is rare. There are surfing doubles, but the editing and cinematography is extremely well done for its time. Shot on real film, on location, with a group of actors and actresses, including Lee Purcell and Patti 'Arbanville at the very end of a time & place when Hollywood was able to create stories that were highly dependent on character, story and emotional content.

This film which was released in 1978, thirty five years ago, stands up against any film of its genre. It's as entertaining as American Graffiti, as honest as Dogtown , as funny as Animal House and ultimately a heartfelt and heartbreaking story about the fleeting moments in life. Like a wave: life, friends, careers, loves, memories pass rather quickly. Movies such as Big Wednesday preserve these moments, capture those times, creating a painting of sorts, a photograph, a time, a place that will never be the same again. Cinema has a way of allowing us to re-enter history, experiencing life itself to enjoy over and over. This has been an appreciation of BIG WEDNESDAY on the 35 year Anniversary. An ongoing Series of articles marking the Films, Books & Artworks that are worth remembering, re-watching, re-reading and re-celebrating time & time again.

BUREAU MAGAZINE CINEMA

Academy Award Winning Actor Robert DeNiro as Jake "The Bronx Bull" LaMotta in RAGING BULL / United Artists

ON THE SET: RAGING BULL

By Joshua TRILIEGI

A man in a hooded, leopard skin robe walks down a long hallway while a group of men push aside those standing in his path. We hear a crowd of thousands cheer the man on, "Jake Jake Jake …" they begin to chant. He is wearing boxing gloves, this is a championship fight, the crowd is dressed in their finest, the men are wearing suits and hats, the women are wearing jewelry, the place is filled with cigar and cigarette smoke, sailors, businessmen, middle aged characters scream the man's name over and over, the women smile as he passes by, his trainers walk in front of and behind the man as he walks down the pathway toward the ring, the volume of the crowd amplifies as the man gets closer and closer to the large roped off square canvas at the center of the arena. The man in the leopard skin robe enters through the ropes, a nondescript fellow with a microphone introduces the man in the robe, the crowd goes wild with frenzy, people are shouting, clapping, everyone is yelling something and then, suddenly, a quiet gent behind a camera yells, "cut" and the place goes silent, the action ceases, everyone settles and a pensive discussion between the crew behind the camera ensues. A few changes are discussed, several people make notations and we do it all over again. I am barely a teenager. It is a first time experience and I am collaborating with the finest in the business. My father and I are working together on the film set of a classic piece of cinema with the Actor Robert DeNiro and Director Martin Scorsese. This is On the Set Raging Bull, thirty-five years later & this is all true.

Academy Award Winning Actor Robert DeNiro as Jake "The Bronx Bull" LaMotta in RAGING BULL / United Artists

I get home from school and, once again, my parents are having a debate and it is about me. This has happened a few times, once, when my brother wanted to take me to an important surf contest on a week day and another time, when we got stuck at the border of Mexico and America late one Sunday night and didn't get home until early Monday morning. Today's negotiation is all about what is more important ? For me to attend school or for me to participate in making a film? The prior debates were also surrounding weather a day in real life would mean more to my education than a day at school. My dad had always felt that real life events had a gravity that would inform much more than the controlled environs of a formal education. In the past, his debating skills would convince mom that this was true and after some heated discussion, he wins her over. Now, we have to figure out how a thirteen year old kid with shoulder length hair is going to fit into a film that takes place in the late 1940s and early Fifties. First, he offers to cut it and I say no. Then, my hair is tied into a pony tail and stuffed up into a woolen cap that my old man had worn since he was a barber down on Prospect Avenue in Milwaukee. Back then, my mother had found herself single, with three kids, she was italian, she was beautiful, she was liberated and although the barber had barely begun his own life as a bachelor and hadn't entered college, when my mom walked in to get my older brother's hair cut, he fell for her and at six months old, he and I become pals. Through the years, we seldom had to deal with any of the father & son bullshit that can ruin a great relationship, we were often, simply friends or roommates or just happened to be living together. We both had to answer to the same lady, for him, it was the love of his life, for me, it was my mom, who made me clean my room, do chores, wash my own clothes and do my homework before running out for the day and get back by nightfall.

Academy Award Winner Robert De Niro and Joe Pesci play The La Motta Brothers in RAGING BULL / United Artists

We have been through some tough times together as a family and come out unscathed. But things are about to get really rough. In about six months, mom is going to move back to Milwaukee for a stretch, my brother and I will stay in California and my sister will go with mom. We did fifteen years without a separation, but my mom is coming into her own and my dad is freaking out. We get up at five in the morning and drive downtown to the Olympic Auditorium, where my old man is moonlighting nights as a security guard. The Olympic was the place, back in the day, where boxing matches happened every weekend. The great American boxing tradition was much bigger and wider spread than most people realize today. A few kids from just about any working class neighborhood, would start fighting in the ring, very early on, certainly kids my age did. There was the Golden Gloves, usually sponsored by a local newspaper and there was the Diamond Belt, often played live on local radio stations. My grandfather fought for these competitions in the late 1920s & early Thirties. He and his friends even started a boxing club, the Battling Bombers. They'd get up in the morning, run along the lakefront, work out at the gym and then go to work all day. He was a great fighter, he naturally had the correct build, could take a punch, had a mean right hook, but one thing he didn't have, was the reach. And if you can't reach your opponent, nothing much matters. In any event, my dad was very aware of my grandfather's history as well as the talent that lay in director Martin Scorsese. My parents had seen Scorsese's early films, but when, "Alice Doesn't Live Here Anymore," was released, both my parents had noticed that my precocious behavior compared that of Alice's son.The big screen rapport between the boy and Alice had undertones of my own relationship with mom.

Actress Cathy Moriarty plays Jake LaMotta's Wife, Vicki in RAGING BULL / Image Courtesy of United Artists

We get to the set and already thousands of people are filling the auditorium. I am dressed in jeans and suspenders, a cap and tennis shoes. He is wearing a suit and tie. Because my dad is actually an employee, we have all access. The scene we are shooting today is a famous 'single take' that Martin Scorsese will later make into one of his trademark style techniques. A favorite example of which would be the incredible scene in, 'GoodFellas' when Henry and Karen walk into a nightclub through the kitchen, to avoid the lines out front. They stroll through the door, down a hallway, into the kitchen, where Henry greets the chef, past a couple, who Henry chastises for always meeting here and on into the club, where a table is placed directly in front of the entertainer, who then sends Henry and his date a bottle of champagne. It is an amazing and exhilarating piece of cinema. The scene we are about to shoot uses similar elements. The first time we shoot the scene, the camera is behind Jake and he walks from dressing room to hallway to entryway of the arena and down the long path to the ring, where he makes a sharp left, past the judges and a right into the ring. My father and I are seated just above left of camera, the crew is situated below us, to our right. In between takes, and I can only assume that because my dad worked at the auditorium, or because it was meant to teach me something, or because he thought I would 'be discovered,' he began to call over production techies and assistants, asking questions about this or that adjustment. All these years later, having worked on films, directed and produced, I still can't believe what guts my dad had for the way he participated in the actual filming of the day. I mean, we were just extras, actually, we weren't even that, we were bum rushing the entire experience and here he is actually, 'participating' in the filmmaking process.

Actors Frank Adonis, Joseph Bono and Frank Vincent in RAGING BULL / Image Courtesy of United Artists

The first, 'adjustment,' we notice, is when Martin Scorsese moves an extra on the right hand side of the scene from visibility. The man is dressed to the nines, in suit and hat. This is a crowd scene with thousands of people. At any one time, the camera is taking in from twelve to twelve hundred people. This is Mr Scorsese as a master oil painter, creating a giant fresco, placing each individual exactly where he wants them, every now and then, within the single take, an individual character may express an action that will end up on the screen for maybe a second or two. An older, portly man in the hallway, reaches out to Jake outside his dressing room, a middle aged man in a mustache, turns to his left while Jake passes by, clapping, a young woman cheers Jake on as he turns to the left towards the ring. When my father calls over one of the crew members and inquires about the particular change of position, the man simply looks at my dad, then looks at me, then gets on the talkie and finds out. A few minutes later, he comes over to inform us that the well dressed man is in an outfit that resembles one of the main characters and could be confusing to the overall film. This is the first of several inquiries that alerts the crew that either one of Marty's close pals is in the audience or a renegade security guard with kid in tow is taking notes. For now, we are still flying under the radar. We do the scene again, this time, the camera is in front of Jake, the sound of the arena is deafening. This is the moment, in the story & script, where Jake LaMotta finally gets the title fight he deserves. After several editing techniques of a wide variety, mostly, extremely fast and short clips, his shot at the title is pronounced, with this extended, single take and in the final film, it works out beautifully.

Joe Pesci and Nicholas Colasanto, The Neighborhood Don in in RAGING BULL / Image Courtesy of United Artists

We break for lunch. The entire auditorium is practically full with thousands of extras and somehow, my dad is able to situate me right next to Robert DeNiro. To this day, I still don't know how he did that, but I have a few ideas why. All these years later, looking back on that very important day in my life, I can see clearly that he wanted me to have the opportunities that existed here in Hollywood. As it turns out, he was a natural born bum rusher, who, on several occasions had done this type of thing before. One example, that stands out, is the time he got backstage at a concert and handed Waylon Jennings a tape with a bunch of songs he had written with his cousin. I should also say here that my old man was definitely a gambler, but he also had talent, he wrote poetry, painted, he knew music very well, was a master craftsman, he had charisma and the gift of gab, he was handsome and had a great heart, but to me, back then, he was simply the guy I had lived with, that my mom had loved, since I was six months old. That said, here I am, eating lunch with a silent Robert DeNiro, who is donned in hood and robe, no one else dared to sit at that table. While I am chowing down with Bobby, my old man is chatting up the crew, he's, no doubt, getting that high that can easily be had when on the set of a great film, probably doesn't even realize it. I look up and he is now talking to the real life Jake LaMotta, getting his autograph, introducing me to people, we are no longer, under the radar. After lunch, a crew member stops by and explains that because I am not an adult, and there are no tutors on the set, the law requires that half day rules apply to actors under eighteen and so, we will not be able to stay for the full day. My old man tries for a second or two to appease and convince, then realizes, ultimately, that we have already succeeded, it has been a great day at the roulette wheel of life. We walk back to our car and drive home. Ten years later, I buy my first film camera, write my first screenplay & produce my first short film. The screenplay is a finalist for the Sundance Film Festival's writers workshop and the short film wins nominations elsewhere.

Academy Award © Winning Actor Robert DeNiro as Jake "The Bronx Bull" LaMotta in RAGING BULL / United Artists

Raging Bull, as a film, is ahead of it's time. The critics, who had, just a few years earlier, lauded Sylvestor Stallone's, 'Rocky' as a winning, feel good boxing film, did not know what to do with a film as brutally honest and unapologetic as Martin Scorsese's Raging Bull. The film was actually, a project that Robert DeNiro had been working on, for quite some time. After the success of The Deerhunter and Godfather II, he was able to put projects together which suited his goals and challenged the audience. For the first time in film history, an actor had gained a record amount of pounds, to play a character in a 'later in life' sequence, setting the bar several notches higher for techniques utilizing one's physique. Even the best film critics are not quite ready for the honesty of Martin Scorsese. America wanted another feel good film about boxing, and what it got, was a stark, reality based film that exposed the brutality, realism and masochism that surrounded Jake LaMotta's life. Not to mention the art house aspect of filming the entire project, with the exception of a few color home movies, in classic black and white. A bold, artistic decision that has, since then, garnered "Raging Bull" the reverence and deep respect of film lovers and cinema creators around the world. All one needs to do is study the film stills and camera work of Michael Chapman to realize why this film is a work of Art on almost every level. Even the sound design is especially mesmerizing, specifically how each crucial punch, in every single fight scene, is given a special mix of audio effect. It is a mesmerizing work of art and a testament to great cinema, without a doubt. At that years Academy Awards © Ceremony, Robert DeNiro walks up the isle, people are cheering, they reach out to him, applaud his performance and he gladly accepts the Oscar Award for Best Actor. Although my dad is unable to read this, I would like to thank him, Marty, Bobby and the Academy: We Made IT.

Image: Martin Scorsese in London England 1996 Photographer: Raymond Depardon / Magnum Photo

ON THE SET: RAGING BULL By Joshua TRILIEGI for BUREAU of ARTS and CULTURE Magazine / 2015 SUMMER Edition

TAP LINKS BELOW TO VIEW RAGING BULL FILM CLIPS RELATED TO THIS ARTICLE

TAP TO VIEW: THE OPENING SEQUENCE OF "RAGING BULL"

TAP TO VIEW: ROBERT DE NIRO GET THE ACADEMY AWARD

TAP TO VIEW: THE ENTIRE FEATURE FILM PAY PER VIEW

GEORGE CLAYTON JOHNSON : SCREENWRITER

By Joshua TRILIEGI

This magazine was once an Art Studio, it transformed into a professional Gallery and later into a multi media center for celebrating the arts of all types: Fine Art, Painting Sculpture, Photography, Classic and Contemporary Arts, Poetry, Music and Film. About this time of year almost twenty years ago, we decided to screen several original Twilight Zone prints on 16MM film reels and invite an audience. Back then, if you were sincere, forthright and naive enough, you could simply pick up the phone, make a few inquiries and next thing knew, you were on the phone with someone like George Clayton Johnson. By the way, thank you to the lady at the writers guild who broke protocol sensing that many of our older, wiser and more talented writers in this town were not getting enough attention from the next generation. In Bogart and Bacall fashion, she helped Sam Spade.

The phone rings several times, "Hello, Is this George Clayton Johnson the original writer for The Twilight Zone ?", I asked, sounding not unlike a child actor from an Old Time Radio Show: raspy, anxious, hurried. At that time, I had no idea that George also wrote Logan's Run, The story for The Original Oceans Eleven and a slew of Television shows including: The first Star Trek episode, Kung Fu, Route 66 & Alfred Hitchcock Presents. "Yes, this is he." The voice on the other line replied. I was ecstatic, this was not the first writer from the series I had called, many had passed away, others lived in New York or elsewhere, and to top it off George had actually been the writer of one of the reels we were showing and of some of the best work in the Zone series: Kick The Can, A Penny for Your Thoughts, A Game of Pool, Nothing in The Dark : Each a Twilight Zone Classic.

I explained what we had planned and asked if he might be interested in appearing for the screenings, [ long pause ] "Yes, I would." In Hollywood, that is the phrase that opens doors, that is the phrase that begins careers, that is the phrase that starts the great journey, it is the phrase we want to hear from those we love, those we wish to work with and those we admire. And, in classic sci-fi style: everything appeared different after that dialogue. The objects in my office seemed different, as if gravity meant nothing, the world was do able, the opportunities seemed endless and I was about to hang out with a writer I had admired since childhood. Suddenly, we were The Bureau of Arts and Culture, we were purveyors of not just Art, Music and Poetry, but now, we were actually presenting and honoring great writers in town. George showed up trailed by a film crew, he was the great philosopher and old pro and I was a mere student & enthusiast: the perfect combination.

It was Obi Wan & Luke. It was the great Chief and a New Warrior. It was George and I. It was also our first official, 'Question and Answer ' exchange with a real working writer. Mr Johnson was a fabulous guest, there was standing room only, we were 'On The Map'. Flash forward almost 20 years. Mr Johnson has had a total resurgence, due to the many remakes of his original story: Oceans Eleven by director Steven Soderberg and the other subsequent films including, Oceans Twelve and Oceans Thirteen. From what we are hearing around town, there will soon be a new Logans Run. We at the BUREAU are very proud to have been on the forefront of recognizing one of The most imaginative and greatest writers working in Hollywood since the early Nineteen Sixties. We wish to thank George Clayton Johnson for his contribution, not only to Science Fiction, Fantasy and Film and Television, but for his collaboration, cooperation and very cool demeanor in working with and recognizing our earnest and heartfelt efforts at a time when many pros had no idea who we were and what it was we were doing at the time. Many still haven't. Mr. George Clayton Johnson has always been ahead of his time and in a way, so are we.

Even our name was confusing to people: The BUREAU of ARTS and CULTURE. It sure sounded official for an Artist run organization. So much so that, curators from Cultural Affairs working for the city actually came down and hand picked artists for Exhibitions. So to did many reporters for Vanity Fair, Coagula Arts Journal, The LA Weekly, The LA Times, The New Times, Venice Magazine, Fine Art International. Cultural Non profits such as LA Goethe Institute were extremely enthusiastic about our exhibitions & events.

All in all, The BUREAU found itself at the correct place at the correct time doing what many Institutes do with big bank rolls, non profit status or major grants from corporate and private institutes. We did it with enthusiasm, we did it with honesty, we did it with care and we did it without all the phony and fake affiliative aspects that now have pervaded the entire landscape of entertainment, art institutes and music/film related non profits of today. Were still doing it with this publication and we will go on doing just that with whatever venture this artist run organization enters into. After all, we also make Art, Films and Books. Without the George Clayton Johnson's of the world, This organization would not be what it is: Thank You George.

TWILIGHT ZONE: KICK THE CAN

WRITTEN BY GEORGE CLAYTON JOHNSON

TUMBLR PININTEREST TWITTER WIX GOOGLE

BUREAU OF ARTS + CULTURE MAGAZINE: LOS ANGELES
http://bureauofartsandculturelosangeles.blogspot.com/p/cinema_30.html

Wong Kar Wai in an in-depth discussion of his cinematic style and full career with acclaimed writer-director Matthew Weiner. Preceded by clips and insight on Wong provided by biographer John Powers, the conversation will provide personal reflections from the filmmaker himself in a rare Los Angeles appearance. Born in Shanghai but raised in Hong Kong, Wong began his career as a television and film screenwriter before making his directorial debut with the 1988 gangster movie As Tears Go By. Over the next quarter century, he made a series of films whose inventive style and melancholy romanticism made him one of the most emulated figures in world cinema. While Wong’s early masterworks like Days of Being Wild and Chungking Express crackled with the joys and agonies of youth, he tackled middle-aged love in 2046 and In the Mood for Love.

http://www.oscars.org/events/wong-kar-wai-person

DOUG PRAY: DOCUMENTARY FILMMAKER

We are extremely pleased and proud to bring you inside the mind of one of America's leading documentary filmmakers with a catalogue of films that each speak to the culture and subculture of America. Since the mid 1990s Doug Pray has been creating substantial and succesful films with a built in audience documenting subjects that have grown in popularity since their initial inception. He has covered Surfing, Street Art, Rap and Rock Music, Trucking, Advertising and Modern Art. In this Exclusive and deeply Educational Conversation, Doug Pray describes his career, his films, the process and development of each project in extreme, in depth detail. Doug Pray's films seem to hit a chord that fits right in with our readership and we can think of no better way to say how very happy we are to have him as our Guest Filmmaker in this Edition.

Joshua Triliegi: Most of your films directly speak to many of our readers’ interest. Lets talk about how a film like SURFWISE, about the famous Paskowitz Family, was created.

Doug Pray: SURFWISE was a story that had to be told by someone, and I felt lucky when its producers presented it to me as a potential project. The Paskowitz family is, and was, such a rare, living example of an idealistic dream fully realized. An experiment that went all the way. We can all claim to want to get away from society and live life on our own terms. Dorian “Doc” Paskowitz and his wife Juliette did it. Not for a day, or a week, or a month – for decades. And with total purity. When Doc passed away just a few weeks ago, he was still at it, living a dynamic life at 93.

Though the Paskowitz family had attained media attention and notoriety in the ‘70s and ‘80s – both for being a world-famous surfing family and for the children’s later successes as champion surfers, rock musicians, artists, models, and more – the whole story, beginning, middle, and end, had never been told. That complete story was two burning truths, the collision of which made for an exciting, emotional movie.

The first truth was the dream. A Stanford-trained doctor is repulsed by the unhealthy lifestyles being taught and practiced by the medical establishment. He drops out of society, falls in love with the perfect woman (willing to join his mission), raises 9 children, lives in a camper on the beach and pursues a lifestyle more in sync with the natural human beings we used to be (exercise/rest/sex/diet befitting animals in the wild), and less like the disgustingly unhealthy creatures we’ve become. For the next 20 years he carries out this experiment with his family: surfing every day, healthy living, no school, a nomadic “off-the-grid” type of existence, a close, loving family. It was beautiful. And the kids were better for it! Homeschooling and surfing made them strong and smart. Today they are the brightest, most dynamic, full-of-life folks you’ll ever meet.

The other truth, the downside, is that to pull this off, one has to be a domineering extremist. Like many narcissistic, visionary leaders, Doc’s inspiration was only as strong as his ego and his blinders. He was, at times, abusive to his family and in fulfilling his personal vision for the family he created a lot of pain and turmoil. And the kids, even though they had this seemingly wonderful upbringing, were not well prepared for the “real world” and they struggled terrifically as a result. As a filmmaker, I was grateful this film came to me with built-in conflict. Normally I’m trying to drum up conflict with editorial finessing to make a story more dynamic.

Plus, though I’m not a surfer, I was allowed to celebrate this incredibly rich subculture from deep inside its heart, with its ultimate spokesman, Doc Paskowitz (R.I.P.). I got to explore his philosophies of surfing and show the healing power of the ocean waves first hand. I was able to prove to the world the power of surfing and to discard the half-assed surfer stereotypes we get from movies and popular culture. I’ve tried to do that in all my films.

Joshua Triliegi: Your films seem to touch on a truth about American cultural moments in time and place. SCRATCH takes us into the Hip Hop scene of the early 2000's.

Doug Pray: SCRATCH, more than any of the seven films I’ve made about American subcultures, is one we were actually shooting at the very moment it became part of the zeitgeist. We were filming hip hop DJs and “turntablists” in 1999-2000 but it felt like we were witnessing the birth of jazz. There was this rediscovery of hip-hop’s improvisational, and uplifting roots. The movement recaptured the energy from the late ‘70s South Bronx and upped it. And it happened at a time when mainstream rap music had become so commercialized and meaningless by bling, gangster violence, and bloated stars. It was one of those cyclical moments in culture when people say, ‘WTF! Let’s take this back to the beginning, to move forward.’ Hip hop was started by DJs. So filming them as instrumental wizards of the 1’s and 2’s at the front of the stage (again) was as profound to its original inventors (like Afrika Bambaataa, Grand Mixer DXT, and Jazzy Jay), as it was to the new generation, like Qbert, DJ Shadow, and Rob Swift, flipping it on its head.

Always the outsider, and a newcomer to hip hop, I fell in love with the energy of this music at the same moment many others were. The vibe I was able to capture on film felt so fresh (Fr Fr Fr Fressssh, that is). The performers knew it. The audiences knew it. My cinematographers knew it. And I had a blast editing it. It’s one doc where my filmmaking style itself was fully inspired by the subject, musically and editorially. My assignment with SCRATCH was to blow away audiences in the same way people go nuts when their DJ drops an impossibly great track on the dance floor: surprise and exuberance, regardless of whether or not you liked hip hop or knew the song. Playing the role of intermediary or translator is something I’ve also tried to do in all my films. I love taking something that is very insider, underground, or misunderstood, and making it so that it’s actually felt by all viewers.

Joshua Triliegi: Early on, documentary filmmakers tend to follow a subject they have an interest in, such as HYPE!, your film on the Seattle music scene. Later, offers come in to cover a certain event, such as your most recent film, LEVITATED MASS. Tell our readers a bit about the journey your career has taken.

Doug Pray: I’ve never really wanted to do any of the films I did, initially. I wasn’t enough of a fan or just didn’t understand the subject at first. Yet there’s always been something after a few months of consideration that hooks my curiosity in a deeper way and makes me feel like I just have to make the movie, like an assignment that I must accept.

HYPE! was my first film and I fought against it the hardest, because it seemed like bad idea and my producer and I started filming too late to do the “real” Seattle music scene justice. Ironically, it made the most sense of any project for me to direct because my college roommates were members of the Young Fresh Fellows who were one of the more influential Seattle bands in the mid-‘80s (not famous, not grunge, but beloved and highly inspirational to other bands and labels in the area). Thanks to them, and the band Flop (for whom I’d directed music videos) I already had access to this super vibrant, authentic, and wonderfully ridiculous music scene. It just hadn’t occurred to me to make a film about it.

Sometimes the best subjects for documentaries are right in front of you and you don’t recognize it. Because, while I was digging my friend’s bands, this “grunge rock” thing was becoming the next global rock phenomenon all around us. A ton of bands like Mudhoney, Nirvana, Pearl Jam, Soundgarden, Sub Pop and other labels, and the world’s media, created what was the world’s last, definable, local music movement. The grunge scene was so strongly identified with Seattle it may have even killed – forever—the notion of a city music scene ever happening again. I eventually realized that the hyping of Seattle was the story itself, and the transformation from “underground-authentic” to “exposed-labeled-exploited” needed to be shown and told.

I’m not sure if it’s because I was influenced by my three much-older brothers, or because I was a sociology major in college, but I’ve always wanted to know why underground movements start, and how they get processed by mainstream culture. I have an innate desire to delve into a widely misunderstood culture and try to get people to appreciate it for what it really is and where it really came from. And the more “out there” or abstract or intimidating it is, the more I enjoy building a bridge to it.

Certainly that was the case with my newest film, LEVITATED MASS. The way Michael Heizer’s boulder was hyped and labeled and became something completely different to hundreds of thousands of people during its transport, than what the sculpture was itself.

SCRATCH hooked me after I talked to Mix Master Mike one night and suddenly realized how completely wrong my stereotypes about hip hop were. I wanted to right that. INFAMY, an emotional portrait of the lives of six notorious graffiti writers, is about the most dominant and present art forms on the planet, but completely misunderstood; seemingly loved or hated for all the wrong reasons. I wanted to humanize the artists. Not trying to make them likeable but relatable. The advertising geniuses in ART & COPY, like illegal taggers, were similarly vilified (advertising being the devil’s work, and all), but their creative struggle was the same: success gained only by taking huge risks. To me, even the very people who were creating mass media seemed to be frustrated outsiders, with a lot to say.

My fourth film, BIG RIG began as a mindless celebration of chrome and ‘70s trucker songs (which I loved). But after I found out that fun wacky culture didn’t exist, it morphed into a 25,000 mile moody journey into this rather depressed community of workers who carry the nation on their backs and get little or nothing in return. Independent truck drivers aren’t artists or musicians, but they are maverick individuals who are often extremists in their behavior or beliefs, not unlike Doc Paskowitz or Michael Heizer or life-long graffiti writers. They are people who have set out to make bold statements, who are independent.

With each new film I thought was rebelling against my last film. After SURFWISE I knew I’d never do another surf film. After INFAMY I didn’t want to do another graffiti film. Yet the more I tried to change the channel away from my last subject– just to keep life interesting – the more each documentary found similar themes. Only today, looking back, can I see these patterns for the first time—a formed constellation of what I thought were disconnected stars.

Joshua Triliegi: BIG RIG takes us on the road in a behind-the-scenes style of 18 wheel truck drivers coast to coast. Discuss the building of trust when covering documentary subjects.

Doug Pray: It is hard for me to defend the importance of trust when making documentary films because it is so essential. It’s as important as having air to breath. I think trust, between director and subject (just as it is between a director and actor) is essential, and makes for good interviews and good films.In some ways, I have it easy: I don’t make overtly political films. I don’t have to interview enemies. I admire people who can go into war zones and get the truth from all sources, even those not trusted. I respect filmmakers who have the guts to confront their most hated adversaries (so long as those privileges aren’t abused and quotes taken out of context for purely sensational edits, which backfires and annoys me to no end.)I have no enemies in my movies, nor do I judge my subjects. I leave that to the audience. I believe every individual on the planet is equally fallible and lovable, and—in some small way—can be relatable. I’m always grateful that they are letting me film their lives and thoughts. They’re giving me a gift and it’s never the other way around. My whole approach to an interview subject is geared to gain trust. A small example: I rarely ask someone to sign an interview release form before their interview starts, even if I know I’m taking that person to places that are extremely uncomfortable. I tell them to feel free to stop or rethink or delete whatever they’re saying while we’re talking. This approach fosters trust and results in more in-depth, uncensored responses than I might get if there was mistrust. We are working together and not in a hunter-prey situation (no pun intended), their degree of comfort directly results in more honest responses. Despite my last name, I am not very religious. But I was raised as a Quaker and one of the interesting things about their history is that they assumed trust.

This played out in courtrooms where they refused to take oaths when in court. After all, if you were always telling the truth, why would you separate out a certain part of your day to swear that you are going to be telling the truth? Why would I expect someone to sign a release if I wasn’t going to reciprocate and treat them with respect? With BIG RIG trust had to be gained in a matter of seconds. There was no pre-casting or research to find characters. We found all of our interview subjects in truck stops parking lots. Most truckers are in a hurry and the last thing they want is to be solicited in a parking lot (I quickly learned that the only people who do are prostitutes, drug dealers, and documentary filmmakers). I needed to spend a few hours or half a day in a truck with a driver so I had to have my pitch down to 10 seconds flat, like speed-dating. I’d immediately tell them who I was, what I wanted, and how it would work. I had to be completely transparent. I’d joke about how absurd it was that a filmmaker from LA was approaching them at this moment, disarming them with self-deprecation. I held the camera in my hands so they saw it and knew it was real. I had a flyer that made it legit. My producer and I were still chased out of numerous truck stops by cops, owners, people with broomsticks… but about one out of ten let us into their truck, and once they were rolling and I was rolling, let me into their lives. I told them we could talk about anything they want. They needed to trust that I was not trying to abuse or exploit them and that I didn’t have a political agenda. I just wanted the truth about life on the road and their lives themselves. I said that to every trucker. They said loads of things that were compelling, sometimes crazy, and other times personally disagreeable, but that only made them more interesting to me. More than any other I let that film write itself, in the same way a hitchhiking journey finds its own route.

Joshua Triliegi: Tell us about your graffiti film INFAMYand how you actually became a documentary filmmaker?

Doug Pray: INFAMY is the most hands-on, scrappy film I’ve ever done, and maybe my favorite because it demanded more immediate, thinking-in-the-moment filmmaking skills from me than any other film. I was shooting illegal activities, and underground figures who like to stay anonymous and aren’t used to throwing up interviews. We couldn’t show up with a four-person crew or have the apparatus of typical location filming. So I’d shoot and interview at the same time, and wanted to be able to ditch the camera (and myself) if caught in the act of graffiti.

Though it’s a lifestyle choice they’ve made early on, there’s nothing easy or fun about most hardcore graffiti writers’ lives, once they’ve dedicated their lives to it. INFAMY brought up a lot of pain, regrets, and emotion. It also was a blast (danger is, after all, fun). The careening unpredictability of their lives allowed me, as a filmmaker, to be freer and find the story on the spot – what to film, where to go, and what lives to focus on. This idea of writing while you are filming and writing while you are editing (though I didn’t edit INFAMY) is what I love about making documentaries.

I’m terrible at inventing stuff out of thin air. I’m useless with a blank page and have never been able to write fiction. Movies, to me, were something you had to do – they were never some “big idea”, they were assigned by life. After taking a few film classes at Columbia College in Chicago and making some completely confusing shorts, I moved to San Francisco and started working for a documentary film producer named Woody Clark. I was in charge of shipping for a whole year, and sent 16mm prints of the first-ever documentary about sexual harassment in the workplace to hundreds of companies suddenly worried about lawsuits (the phrase had just been coined). So, the first lesson I learned in the “biz” was wrong: you can make a lot of money on socially relevant documentaries. Woody did, and it threw me off for life!

At that company I got my first break, editing and producing a semi-corporate but gut-wrenching documentary project for a hospital in Virginia that treated children with traumatic brain injuries. That got me into the UCLA Producers Program and from there I snuck into their directing-production program. I went there for four years but never took a documentary class. Instead I learned about working with actors, getting performances, cameras, lenses, lighting—all of which made me a better non-fiction director—and film structure, the most important skill I ever learned.

After graduating, it took me a year to realize that I’d never write that great American screenplay, that I wasn’t actually Francis Ford Coppola (which was a shame), and that nobody gave a damn that I had an MFA. This whole time, a fellow producer, Steve Helvey, was bugging the hell out of me, wanting to make a film about the Seattle music scene. I hated the idea and kept putting him off until I was, in fact, directing that film, HYPE!, my first feature doc.

Joshua Triliegi: ART & COPY is all about advertising, art and ideas for sale, When do you know you have enough material, interviews and images for your documentaries?

Doug Pray: You don’t ever realize. There is no moment when you are done shooting. There is no magic moment when you realize you are done editing. You can keep doing it for the rest of your natural life, and we’ve all met filmmakers who do just that. Usually you just have to stop you’re so exhausted and depressed, occasionally because you’re happy with the cut.

You start with a rough idea of all the things you think you need. Then you set up a production plan and figure out how you will go about getting it all. For my films, it’s usually been about five or six weeks of shooting spread out over six months or a year. We’ll usually edit rough sections as we accumulate footage, and once we have a full rough cut, it becomes much clearer what we need to tell the story that we don’t yet have. I’ll go shoot more interviews and that later footage often becomes the essential glue to hold things together.

For ART & COPY we knew who the advertising legends we wanted to interview were. In each case the request was similar: I wanted an in-depth interview, possibly a follow-up interview, and a half day with them shooting b-roll. It was while shooting b-roll that I’d often get freer, better quotes, stuff that might not have come out in the interview. For example, I met George Lois in his apartment in New York City and we did a two-hour interview. Then we went to the West Bronx and he walked around his old neighborhood and we just had a conversation. He talked about getting into fights as a kid, of being an outsider, and his quotes and this neighborhood and the energy of the city supported this idea that he was a fighter throughout his whole life. From 1960s protests to his in-your-face ad campaigns which punched you in the gut.

After we’d shot most of ART & COPY and were deep into editing I got frustrated that it was all talking heads. I wanted this film to operate on a higher, more inspirational level, since the whole movie was, after all, about creative inspiration, taking risks, and big ideas. I wanted to get out of these advertising campaigns and physically show how these people are affecting our daily lives without just running a bunch of ads. I wanted to see the mechanics of mass communication, not just talk about them. My producers and I brainstormed and this led to the idea of showing communications satellites. Within a few months, we were in French Guiana shooting a massive satellite being launched. The justification? Ads pay for TV. TV comes from satellites. But editorially, the rocket launch gave a subtle, building structure to the whole movie, a climax and a payoff.

I must say, most docs could use a rocket launch. Too often people forget that feature documentaries are still movies. Regardless of the subject they ought to be cinematic and entertaining. That extra two or three months of finishing (re-editing, re-writing, re-structuring, re-working my sound-design until it rocks) is my favorite part of the whole process.

Joshua Triliegi: What are you working on now?

Doug Pray: LEVITATED MASS was my seventh feature doc and there’s something about the number 7 that is allowing me to change things up. So, aside from supporting its theatrical release this fall (LEVITATED MASS is coming out on iTunes, DVD and other digital platforms this month), I find myself involved in a number of projects and acting more as a producer than a director. At the moment, I am executive producing and editing a music-based project that Allen Hughes (of Hughes Brothers fame) is directing for HBO. I’m working with the producers of ART & COPY to make a non-fiction television series about the results of creative thinking around the world, filming innovative individuals, organizations and businesses in Detroit, Peru, and elsewhere. I’m working with the Los Angeles County Museum of Art on a film for their 50th anniversary. I’m doing some exciting commercial work with Bob (Bob is a company, not a person). I am also helping a filmmaker named Patrick O’Brien finish his ten-year-long feature-length documentary about his life with ALS. It is called TRANSFATTY LIVES. At first I just brought on an editor for him (Lasse Järvi who cut INFAMY and SURFWISE), but now I’m heavily involved as a producer and post supervisor. It’s not my film, but Patrick is an amazing, magnetic personality and I’ve enjoyed helping him realize his documentary. He lives in Boston and is completely paralyzed but with a lucid, brilliant mind. His movie is fairly crazy and super emotional and it’s been a wonderful challenge. It will premiere in 2015.

Joshua Triliegi: Do you foresee an evolution into non-documentary filmmaking?

Doug Pray: It’s funny to me that I ended up having a career directing non-fiction film. I love working with actors. I love directing actors to the point where they seem like they are not performing at all, as if they are in a documentary. I also love getting “performances” out of non-actors and working that grey area. Years ago I used to imagine making dramatic films that were unscripted but based on providing a set of motivations for the characters who are journeying through documentary locations. Some would argue this is the definition of reality TV, but I was more interested in making loose, emotional features. More and more great filmmakers are doing exactly that today. To that end, there are three dramatic films I’m currently developing for me to direct. They are open-ended enough to allow for strong non-fiction texture and influences. Stepping back from the documentary genre as a whole… the changes in the last 25 years since I started directing are so outstanding it’s hard to imagine where we’ll all end up. It used to take $100,000 and lots of meetings with investors to even consider mounting the most raw documentary because you had to pay for processing, film stock, and the mechanics of post. Being a filmmaker in the ‘80s seemed very special and rare. Today’s filmmakers have to compete with thousands more like them, which is a drag, but they also can. They have crowd-funding, small cameras with superb imagery, and distribution venues so prevalent it’s annoying. Everyone is a cinematographer, everyone is an editor, everyone is an director. This is Silicon Valley’s dream, that we are all masters of our destinies, fulfilling our unique potentials and creating beautiful little films about ourselves through our devices and apps. It’s kind of fun, but ultimately kind of narcissistic and meaningless to me. In the end, great stories, well told, are the only things that last. This has been true for 20,000 years of human history. Whether it’s a six-second Vine video or a four-hour linear doc, it only matters if the story moves us.

Joshua Triliegi: What is the single most challenging aspect of creating a documentary, in your experience?

Doug Pray: It is almost always just after I arrive at the first rough cut of a new movie. This is the first big “step-back” from the project, the first time my producers or collaborators get a decent look at the fruits of our labor, it’s the single biggest moment of assessment in a doc. And it just never looks, sounds, or smells any good. For me, it is awful and heartbreaking. All that great footage is actually in there and none of it seems to work. I always feel like I made a huge mistake in taking on the project but at that point it is way too late to turn back. What’s worse is that I KNOW this is going to happen and then it does, yet again, each time. Why? I don’t know, there must be some law laid down by the gods of creativity. (maybe it’s the “blood on the pages rule”: that scripts which do not have actual blood or perhaps tear stains on the pages aren’t worth reading). Regardless, it’s at this point in a project’s life that I will inevitably need an outsider – usually a producer or writer or advisor – to come into the editing room and basically kick my ass and force me to rethink the film in a bigger and better way. I have to hit bottom for me to start re-finding the film. Sometimes it’s a different film than I thought I was making in the first place, sometimes it’s a reaffirmation of exactly what we were after in the first place. The most challenging moment on my film LEVITATED MASS wasn’t during the edit. It was during production when, no less than six months into production, I finally met my main character, the reclusive and amazing American land-artist Michael Heizer, and suddenly realized that he had absolutely no interest in being interviewed or letting me film his personal life, and that he would not compromise. I had to rethink the whole project and figure out how to make it as compelling as the film I’d originally set out to make. In the end, it worked out well—Heizer generously gave me access to his work and his process, but while his backstory is a key part of the film, it’s not about him. That realigning… just like rewriting your film’s edit, it’s never easy. And it’s an essential component of all non-fiction filmmaking.

Joshua Triliegi: Where did you study and what advice would you give young readers and filmmakers?

Doug Pray: I studied sociology at Colorado College (liberal arts undergrad) and received an MFA from the UCLA School of Film and Television. I don’t think film school is required, at all, for people to become professional filmmakers, but I needed it for sure and I loved every minute of it. It gave me the confidence to call myself a director and the knowledge to be one. Some directors know exactly what they want and how to get it without school. Marc Webb, a good friend of mine (who directed 500 Days of Summer and the last two Spiderman movies), didn’t need one minute of film school. He knew how to teach himself and studied other directors and their styles and had enough initiative to work his way into becoming one of America’s more prolific music video directors, which led to his first feature. Whether by crewing, or just directing your own low-budget DIY feature, or going to film school, or writing a script, or making a doc about your cat, there are many many ways to become a filmmaker. And… many, many filmmakers. So the question remains: what do you have to say, and are you a good story teller? Pencils and paper have been around for hundreds of years: did the availability of those tools result in many more great novels?

But aside from story, I ultimately think the main difference between people who are successful in non-fiction and those who are not, is tenacity. They persist. They don’t quit. They get through the downs and the depressions and they keep on trying to make it work. Whether they have to keep shooting, keep editing, bring on another editor, or change their story altogether. They bury their ego, face the truth, and find a way to make it work. They are able to re-access their initial passion and energy for the project. Again and again. There have been, sadly, a number of projects I had to walk away from in my career, for various reasons (usually myself to blame). They were failures and it’s painful for me to think about them. They were all great stories about real lives, they featured real people whom I admired and had (nearly) committed to. Trust had been built, but then things didn’t work out. Those are the sad anomalies, the exceptions that prove the rule, that—in fact—directing documentaries is an absolutely wonderful adventure. I feel pretty lucky. Visit The Official Doug Pray Website to learn more about current releases: http://dougpray.com

BUREAU Magazine: New CINEMA

Billy MIZE & The Bakersfield Sound

By Joshua TRILIEGI

History is sometimes told by outsiders, sometimes by insiders and sometimes by someone simply very interested in the facts, in this case: it's a little of each. Billy MIZE and The Bakersfield Sound is a New Documentary that tells the story of California's forgotten history. We have got a lot of those around this Golden State. So very much has happened out here in The West. William J. Saunders steps up to tell the story of his Grandfather, songwriter and musician, Mr Billy Mize. A local legend of sorts for anyone living in the middle of California in the 1950's & 1960's. Billy Mize was a big part of what is now commonly called, the Bakersfield Sound. An offshoot of Country Western Music with its own Rock - a - Billy bar room blend of hard driving guitar, rough edged rhythm and wide audience appeal that to this today is influential to musicians such as Dave Alvin, who appears in this film to help tell the story. So too does Merle Haggard and a host of people who were there or highly influenced by the music that was created during that time. A hard driving, hard working community of people whom many migrated to California during The Great Depression ala John Steinbeck's Grapes of Wrath and settled into middle California seeking employment in Agriculture.

Billy Mize and his pals had to actually establish the Academy of Country Western Music to chime in and recognize each other and their contemporaries out West. Artists such as Elvis, Dean Martin, Barbara Mandrell and others are sited as influenced and impressed by The Bakersfield Scene. Billy Mize, looked after new talent, collaborated, produced and performed with the likes of folks such as Buck Owens and Merle Haggard, who would go on to prosperous profits and notoriety while Billy, sometimes, did not. This documentary elliptically raises the question: What is Success ? Is it a top ten hit or is it a happy marriage or is it simply being satisfied with the things you have done ? Ask that question to three different people and you will get three different answers. This film allows each viewer to decide for themselves that answer and meanwhile we learn much about the center of California, The Music of Bakersfield and the career(s) of a whole group of people that clearly deserve our recognition. This is a patchwork quilt of a film that is truly American in its creation. Tap to visit http://www.billymizemovie.com/

TOM DONAHUE : INTERVIEW

Who could ever imagine an American film world without the likes of performers such as James Dean, Jack Nicholson, Al Pacino, Warren Beatty, Dustin Hoffman, Glenn Close, Sissy Spacek, Bette Midler, Robert Duvall, John Voight, Diane Lane and Jeff Bridges ? Add to that list about a couple hundred other important contributors, including Directors such as Martin Scorsese, Woody Allen, Norman Lear, John Sayles. Take it a step further and ask yourself what if someone else had been cast in their pinnacle roles in film? Well, due to Marion Dougherty, a casting legend, we often have the perfect person for the role .

Tom Donahue Directed a very engaging documentary all about MS. Dougherty entitled, "Casting By". BUREAU Editor Joshua TRILIEGI spoke to Tom about The Film, his prior documentary on Artist Cindy Sherman & the general process of film making. Since then, the film has been picked up by HBO Documentaries and won a bunch of festival awards. The gist of the film : Are casting professionals 'Directors' ? are they, 'Casting Directors' ? Any actor will tell you: "Hell yeah." Apparently, no matter how many chime in, and many great directors too, it is still debated by the powers that be. The story takes us through, not just Marion's career, but many of the performers and ultimately through film history.

JT: Your first film was on Artist Cindy Sherman, What led you to this project and how were you first introduced to the subject ?

TD: "Guest of Cindy Sherman" came about from a phone call I got from artist Spencer Tunick (I had edited two HBO feature docs about him). He told me about this guy, Paul H-O who is dating Cindy Sherman and sitting on a mass of amazing footage but had no real idea what to do with it. Paul and I met and agreed to co-direct though we didn't exactly know what we were going to take at that point. From the footage I saw, I could only see a first act. A month or so later, Paul called me & told me he was going to do a monologue for a bunch of friends & that my producing partner and I should come check it out. He thought this monologue might hold the key to the rest of the film. He was right. Paul titled it 'Guest of Cindy Sherman' and, in it, detailed the emotional crisis he was going through dating such a famous artist. The monologue appears in the film. Now, we at least had the first two acts. We wouldn't have the third until three years later when Cindy and Paul called it quits (partly due to the film).

JT: The film tells a personal story, but also a larger overall history and evolution of the industry. How did you go about correlating the two with such a nice balance ?

TD: It was not easy. We culled through a mountain of 240 interviews (with lots of conflicting stories) and a seemingly limitless amount of archival material. There are actually three stories in the film -There is the story of Marion's career with Lynn Stalmaster playing counterpoint & then there is the story of the industry politics. For a while, the film got away from me as I began interviewing people with no connection to Marion, opening the doc up to stories from multiple casting directors. This proved way too much. We scaled back and refocused the doc on our primary character but now with the added benefit of a broader perspective. Note in the structure that Lynn's career is introduced through Marion's. All of the film's themes remain tied to her story.

Casting Choices : Robert Redford, William Shatner, Warren Beatty, Robert Duvall, James Dean, Burt Reynolds, Peter Fonda and Martin Sheen, Christopher Walken

JT: The editing in this picture is very smooth but rather complicated, so many interviews and personalities, was this the first time you worked with the editor ? How did you go about picking and choosing ? Was there an EDL [ Edit DecisionList ] prior to inviting in The Editor ?

TD: I had an amazing editor ( my wife, Jill Schweitzer ). The editing took eighteen months. Yes, this was the first time we worked together on such a large scale as director and editor. Initially, I would select from the transcripts and figure out the anecdotes and sequences we needed to build ( way too many, of course ).

JT: You sat in the room with some of the most brilliant Actors, Directors and Producers in the industry, What was it like to be interviewing some of you heroes, realizing that you were now one of their contemporaries ?

TD: I treated each interview like a masterclass in filmmaking. I learned more than I probably even realize.

JT: The Film tells the story, as well as subtly advocates for the respect of Casting Directors in the industry, a somewhat controversial position up to this point. How did you see this challenge when you started the project ?

TD: I believed very strongly that casting directors needed to get their due. I never doubted that I had to take a very firm position on that.

JT: You went for two whole years, without turning a camera on, while your producers went searching for more finishing funds. What did you do during those years and did that reprieve allow you to review material and in the end, assist to make this picture what it is today ?

TD: I finished, went around to festivals and theatrically released Guest of Cindy Sherman. And I produced & edited the feature film, Ponies (starring John Ventimiglia and Kevin Corrigan). Once that was completed (early 2010), I decided to go full steam ahead on Casting By, even without much money in place. After accumulating some amazing interviewees, we got our financing. Sometimes you just need to do it.

JT: The interviews with your subject are heartfelt, honest & deeply moving. How did you get such an honest and open relationship with your subject and what advice do you have for Documentary film makers in this regard,

TD: Be real. Be open. Know that it's not about you. Don't talk too much. Listen. Listen. Listen. Don't try to show how smart you are or what a good talker you are. You are there to hear their stories. They don't need to hear yours. And in that regard, know what your objectives are- Know what you need to get and know that you are getting it. That said,

be open to surprise and go with it. Never shut it down. Know when to interrupt & mostly, don't. Don't step on sentences. You never know. And acknowledge that you are listening in the silences. Finally, I don't use narration so I try to make sure I am hearing complete, coherent sentences so my editor has what they need to tell the story.

JT: The music is very effective and straight ahead, loyal to the period and moves the sections along nicely, Did you work with a team of sound designers & musicians ?

TD: I have a brilliant composer named Leigh Roberts (Leigh scores White Collar, Graceland and has done work on House & Parenthood). We started by spotting the cut together, identifying what our themes needed to be & where music needed to go. We decided Marion needed two themes - A "process" theme, which we heard whenever we discussed the mechanics of casting and Marion's theme, which was more romantic, more about the magic of Marion and her gut instincts. We gave Lynn a jazz-inflected theme to help differentiate his sequences. In the end, Leigh composed sixty-two cues for the film, an incredible number. I absolutely love his work on this picture.

JT: The re enactments and graphic realization using Photographs are extremely effective and completely service the story, how did you go about creating the graphic elements and who did you work with on these segments ?

TD: Michael Saul did an excellent job on all of the motion graphics. There is such amazing heart in his work. Ken Edge did the color illustration of key photographs. River Road Creative provided the tree/watercolor animation toward the end. My basic philosophy regarding animation, music, etc is to help keep the story moving, add to it emotionally and never get in the way.

JT: I understand you also have enough footage in the archive to create a series, Do you foresee another larger version and or continuing the saga on cable in some way ?

TD: We are hopeful that we can create a series with the additional interviews we gave ( 180 ! ) and will explore the possibilities down the road. Needless to say, there is a lot

of great material !

CASTING BY : The TRAILER

MARNI ZELNICK: Film Director

BUREAU Editor Joshua Triliegi talks with Marni Zelnick about her most recent feature film.

TRILIEGI: DRUID PEAK is a wonderful film. Tell us about your earliest interest in this particular subject and how you went about developing the project.

MARNI ZELNICK: A lot of the story elements that eventually became part of Druid Peak were things that had been germinating with me for a long time. The effect external geography can have on our internal selves; the almost haphazard but devastatingly permanent way life can be lost when you’re a teenager; the fact that people so rarely ask the right questions of each other; the power animals have to communicate without speaking, and how their vulnerability can move even the most stoic heart. I think every writer has those things. But the immediate catalyst for the film was a $100,000 production grant offered by the Sloan Foundation for a script dealing with science or technology. Funding for first features can be incredibly difficult to find and I knew I wanted to apply for the grant. I went to their information session and they were probably no more than fifteen minutes into it when the image of a kid running alongside a pack of wolves streamed through my head. It was the unification of a million things I cared about. All of those ideas I mentioned plus Jackson Hole, Wyoming—a place that had been significant to me both as a teenager and an adult. The story kind of grew out of and around that image.

TRILIEGI: The Film starts out with a common problem facing much of the youth of today: Urban Dissatisfaction. Your lead character, Owen, goes through a slow and steady transformation, discuss the arc of this character.

MARNI ZELNICK: You know, I would say it a little bit differently. I would call it environmental dissatisfaction, rather than urban dissatisfaction. I think it would have been easy to make Owen an urban teen and for the conflict to simply be urban versus rural life. But as a film with an environmental subject, I wanted the issue to be more complicated than that. I specifically set Owen in West Virginia because it’s a place as potentially beautiful as Wyoming, but we’ve used the land very differently. The town we shot in, Mt. Hope, was an old coal town where the seam was mined to exhaustion. The land was depleted and the town never recovered. So a potentially very beautiful place had been used in a way that left its inhabitants with very little, both visually and in terms of opportunity. Owen is a smart kid who feels crushed by the claustrophobia of the place. There’s nothing there for him. He may not be self-aware enough to articulate it that way, but he’s stopped trying to make anything of himself or his life because he doesn’t see where it could lead—what the point is. His arc is a lot about realizing that there are still choices to be made. He can choose a different place, a different life, a different self.

DRUID PEAK on YOUTUBE

TRILIEGI: The film is beautifully photographed, Rachel Morrison's work is outstanding. The film relies heavily on nature as the great healer. Share with our audience the use of The Landscape and your decisions in the editing process.

MARNI ZELNICK: Owen’s journey as a character is so much about environment that it became a kind of character to me when I was writing the script. In order for the film to succeed, I knew we were going to have to do justice to the landscapes of both West Virginia & Wyoming—to not only capture them but to contrast them. Bringing Rachel on was just the best thing that could have happened to us. Aside from her incredible talent, she brought experience to the table that I simply didn’t have as a first time director. So she was not only someone who understood and could execute the vision for the film, she was a calm, steady presence, who I trusted completely to guide me when I needed guidance. I simply couldn’t have asked for a better collaborator. Additionally, two other decisions were made in partnership with my producers that hugely favored the landscapes. The first was to actually shoot on location in both West Virginia and Wyoming. For a micro-budget production, this was a massive expense and a total headache, but we all felt it was critical. The other choice we made was to have two camera teams for the entire shoot. Our A camera unit, led by Rachel, was shooting story as well as landscape, while our B camera unit, led by Second Unit DP Noah Greenberg, was out shooting only landscape every single day. Again, this was a big budgetary sacrifice for a film of our size, but we ultimately all felt it was the right decision. Every shot you see in the film was captured by one of our camera teams. We didn’t use a single piece of stock or purchased footage.

TRILIEGI: The performance by Andrew Wilson is beautiful. From the first time we see him on the screen, there is a magnetism that I don't think we have ever quite seen by him before. Share with our readers how you develop a role like this with an actor.

MARNI ZELNICK: I think it’s very rare that low budget filmmakers have the luxury of doing a lot of prep work with their actors. I certainly didn’t have a lot of time with Andrew before we started filming. But I really believe that so much of your work as a director is done when you cast. It’s like any good relationship—half the battle is picking the right person. Everett was a tough role for me to cast though because, even though I wrote the character I had this kind of reverence for him that’s a bit hard to explain. He’s a character, but he’s also an idea. Someone who lives a very principled life off the grid. He’s not subscribing to everyone’s rules about what’s right or how the world should work, he’s making his own up, but they’re damn good rules. There’s something in that that’s really important to me. So I was very protective of this role. And I think for writers, casting can sometimes be like watching your teenage daughter go out on a date. You want it to be someone really great who totally gets her, you know? The idea of Andrew in this part came up early on. I loved him as an actor, but didn’t know much about him personally. Then I learned that he was actually this very gentle, free spirit surfer who lived off the grid in Maui. That sealed the deal. We were fortunate that he was as excited about the script as we were about him.

TRILIEGI: DRUID PEAK is an educational journey into the lives and challenges of both those in support of the wolves and those concerned with the damage they sometimes are responsible for: Live Stock. What were the challenges in presenting this through dramatic situation ?

MARNI ZELNICK: One of the big challenges in presenting the issue is the same challenge Owen faces: empathy. I didn’t necessarily want the film to be objective, but I did want it to be empathetic. I wanted it to show understanding for both sides. The film has an obvious reverence for all things wild, but part of the message of the film is understanding, coexistence, interdependence. I didn’t want there to be good guys and bad guys. I wanted the issues to be complicated and for everyone to have to give a little bit to achieve the final outcome of the film. I didn’t want it to be a film that only pro-wolf people could like. Beyond that, one of the big challenges in both the writing and editing was to not weigh the drama down with too much information. We took a lot out as both the script and cut evolved.

Visit Official Site for More Details on this Incredible Film: http://www.druidpeak.com/

DAVID L. LEWIS : FILM MAKER

Documentary Film maker Davis L. Lewis speaks with Bureau Editor Joshua Triliegi about the new documentary, " The Pleasures Of Being Out Of Step ": Notes On The Life Of Nat Hentoff which features music by Bob Dylan, Miles Davis, John Coltrane and Duke Ellington. The film focuses on an interesting story and the career of one of America's leading Music Critics and Independent writing voices in last few decades. An authentic and personal film with a an up - close look at a very outspoken writer.

BUREAU: Your new Documentary on Nat Hentoff, which recently received festival awards, relies heavily on the actual thoughts, opinions and participation of the subject. What were both the pluses and challenges in having NAT HENTOFF allow such all access to you as a film maker.

Davis L. Lewis: We tried to capture Hentoff at the perfect moment in his career, at a point where he was able to reflect with great depth on his life and explain it as he explained so many other lives and creations. He was around 83 and 84 when we shot the three interviews.

If you think of your subject as a “text,” the very great advantage we had was to have a primary text to interrogate at the very center of our story. Much different than trying to make a film about someone who has already passed. He could be a little cantankerous, and didn’t love having cameras invade his space. For instance, it took me six months to convince him to let us shoot a simple scene with him in his neighborhood barbershop, and even then he tried to back out the night before. We exchanged some blunt words over that, but that often happens in a project of this size, and he went ahead. Afterwards, he said he was glad we did it.

But besides that he was a pleasure to work with. He never told us what we could or could not ask, or who we could or could not talk to. I don’t think it was out of any particular respect for me — he didn’t know me very well when we first started. I think it was out of respect for journalism and the journalistic process. I don’t think he likes everything we put in the film, but I think he appreciates the honesty and integrity we tried to bring to the project. I don’t think he would have liked an unadulterated hagiography, and I will always be grateful for the freedom and respect he and his family gave us.

BUREAU: NAT HENTOFF is quite an interesting character: we enjoyed the film. How did you come to choose this subject as a feature documentary and tell us about the journey from impetus to final release if you will ?

Davis L. Lewis: I’m glad you enjoyed it! The initial impulse was complicated but basically boils down to this: As a journalist myself, I’ve always loved the “war stories” I heard in the newsrooms and bars where we tend to congregate. As I got older, and as the digital age crept up & then roared over us, I began to realize that we are losing a generation of journalists who made their lives in the printed word. We are very good about telling other people’s stories, but not so good at telling our own. I felt an overwhelming desire to preserve some of that history. There were lots of possible subjects, but Hentoff presented a particularly intriguing one because of the jazz. I was never an aficionado, and only had a vague awareness of his earlier work. So the chance to learn more about the music was big draw. I remember how hard I worked to prepare for the interview we did on jazz — and how nervous I was when we sat down to do it. Afterward, I asked him how we did, and he said, “At least you knew the right questions to ask.” That was a big relief! I’ve worked all over print and broadcast journalism, but this was my first feature-length film, my first large-scale independent project. The creative challenge as the director was to try to get past the usual bio-pic documentary formula and create a film with its own aesthetic that helped us tell the story. I think we did pretty well at that, although I’m sure not all the critics will agree. As the producer, the biggest pleasure was putting together a great team that helped me keep up the creative momentum over the length of the production. The biggest challenge, of course, was finding the resources to get it all done.

BUREAU: A Documentary like this usually takes some time. Averages of 60 to 85 hours often paired down to 90 minutes is always rather challenging, What was your ratio and discuss how you went about ' finding ' the shape of your film ?

Davis L. Lewis: If you include all the archival material available to us, that ratio is pretty close, probably a little short if you count the music too. We had to make pretty careful choices about what to shoot. We based our decisions on what we thought we would get out of it and that process worked well for us. The problem is the man is so prolific. We knew there was no way we could tell it all, so we had to make narrative choices as well. We tried to keep our focus on the thematic thread that unifies the whole film, which is the relationship between free expression as a creative value and a political value, and the relationship between those values and the ability of an individual to create an identity. We chose an unconventional structure because we wanted to show the connections between those values in Hentoff’s life, and the connections between the people and ideas that popped up at different points. We spent a lot of time in the editing room moving those pieces around, teasing out different themes and association and making sure the connections were as clear as we could make them. We also had to leave a lot of stuff out, but maybe we’ll have some nice extras on the DVD.

BUREAU: The blend of MUSIC, ART & POLITICS symbolized by the single opinion of an individual, in this case, Mr Hentoff, created quite a controversy. When did you first become aware of Mr Hentoff and now that the film is completed, what have you learned about Documentary Film making ?

Davis L. Lewis: I came of political age in the '70s, a particularly awful time in American politics, and I first became aware of Hentoff through is his work at the Voice, which presented such a strong counterpoint to the corruption of that era. He is always outspoken, but it seemed to me that he was rarely a blowhard. At his best, he puts a lot of thought into his work and comes by his conclusions honestly. So even if you don’t agree with everything he says, you can respect him for saying it. I think he would be horrified by someone who agreed with everything he says, or at least he would find that person boring.

The most important thing I learned about documentary filmmaking is patience. It took longer than I thought it would, but I think our focus on quality and depth helped us get to the end. And I learned to always work with the very best people I could find, but people who believed in the project. Because it takes a sustained effort to follow through to the end on a project like this, and it’s hard to sustain that effort if the people you work with don’t believe in it. And you want them to be satisfied with the work at the end as well. I met a producer early on who I wanted to work with, and she turned me down. But she gave me a great piece of advice. She said we had a mature project and that quality work always rises to the top. I always remembered that, and it helped me through some of the tougher stretches, and helped me to be patient. And I hope she’s right. We’ve gotten this far. I would ask her to work with me again.

BUREAU: The Music by Bob Dylan, John Coltrane, Miles Davis, Charles Mingus and others trails the storyline due to Nat's personal relationships with these men, tell us an anecdote on the challenges of joining together the music, Nat's writing and the three major Interviews shot by Tom Hurwitz.

Davis L. Lewis: Well, we were very lucky to be work with such classic music. I don’t use music much in most of my journalistic work because it can be very manipulative, and you want viewers or listeners to be able to respond honestly to the facts and truth. For me, the whole point is to give people information to make their own decisions, not to tell them what to think, and the way that music plays on emotions can interfere with that. But in this case the music was part of the story, and that opened up such wonderful possibilities for us. So our approach was, for the most part, to use music that was relevant to the story, and that meant music Hentoff wrote about or produced in the studio himself. The biggest challenge was the sheer volume of it. We printed a database of all the albums for which he had written liner notes, or at least as many of them we could find, and there were hundreds! So we enlisted a number of experts to help us curate it, including Hentoff himself, who is of course one of the leading experts. We asked which the most important albums were, and what his best writing was. We came up with a few dozen, and then we whittled it down from there. And that became our guide to how we would use it with the interviews. We knew Hentoff would be on screen a lot, so Tom and I worked hard to come up with a visual style that would be engaging but also give us some flexibility to edit different interviews together, and once we made our decisions I knew I could leave it in his hands to execute.

After that, it was a real team effort. I had the opportunity to work the great Sam Pollard as our consulting editor. He brought visual understanding to the music (and many other scenes), and also kept us honest to the music. You don’t want to be known as the filmmaker who hacked Duke Ellington to pieces! Our archivists found stunning original photos, and our musical team waded bravely into battle with the record companies and publishers to get us access to the songs we wanted. And of course Andre Braugher did the narration. You may notice that Braugher’s narration consists entirely of Hentoff’s own words. There is no omniscient narrator. In that sense, the narration doesn’t tell the story, it is the story. Our idea from the beginning was to marry the music to the words so that you can hear the stories in the music and the music in the writing at the same. It is a great experience, a great joy to work with such material, and I hope we were able to communicate some of that to the audience.

David L. Lewis is a writer, director, producer with 30 years of experience as a New York City-based journalist in print/broadcast media. He was a producer and associate producer for the CBS News program 60 Minutes & correspondent Ed Bradley for five years before going independent in 2006. He was a staff writer for the New York Daily News & Gannett newspapers for 15 years, and has worked for ABC News, Time Warner cable television & various national magazines. Lewis teaches reporting/writing at the City University of New York Graduate School of Journalism. This is his first feature - length film.

THE PLEASURES OF BEING OUT OF STEP

FILM REVIEW: LAKE LOS ANGELES

By Joshua Triliegi

Lake Los Angeles contains a strange mix of realism and poetry. A 'state of mind' film surrounding the realities of the immigrant experience brought to life through a dreamlike lens and viewpoint. A mind scape of missing family members and misplaced persons in search of a better life. Relying heavily on voice over narration, fine art - like imagery and photography seldom offered in stories such as this create a different type of film experience. Two characters seemingly in disparate situations cross paths for a brief moment only to remain separated in a kind of imaginary reality created by the psyche and circumstances. Cecilia, a young mexican immigrant is dislocated from her family, with the promise of delivery to a father she has never known. A middled aged Cuban immigrant yearns for the company of his wife and family, while working for Americans with a dislocated wonderment and detachment, while somehow retaining his dignity and honesty among untrustworthy co workers and partners.

The landscape, sky, sun, trees and desert play a part as important as the young girl and Man. This is a poem. Mythology mixed with reality creating something in between the two. Capturing a sad truth, an honest look and a very heartfelt view of a world we might not otherwise have seen in this particular way. This is the third in a series of films that take place in the desert landscape and are often inspired by the actual location. With an intuitive and honest portrayal by a very young actress: Johanna Trujillo as Cecilia and a reserved, if not minimalist & mature delivery by Roberto Sanchez who plays Francisco the Cuban Man.

A modern film with a magic realist bent that becomes a tone poem. Lake Los Angeles is an interesting film that is very rare in today's contemporary cinema. As far as references, one might say it is one part The 400 Blows by Truffaut, one part El Norte' by Gregory Nava and one part Carlos Castaneda, that is if it were fair to compare this film to a cocktail recipe, which it is not fair to do. Although intoxicating in it's own way, this is a wholly different animal with little to compare it to. Or to quote an old popular saying for Cubans in the know, "CUBA-LIBRA is not just a drink": It is a reality in the making. An original film created by a genuine and refreshingly mature voice in cinema: Mike Ott and co-written by partner Atsuko Okatsuka. Outstanding Cinematography by Mike Gioulakis. We suggest It.Tap/Visit Lake Los Angeles Site to learn More About Film: http://www.lakelosangelesmovie.com/

INTERVIEW: Director Deon Taylor

Deon Taylor Directed, Supremacy, a new Film Starring Danny GLOVER & Lela ROCHON. We spoke to Deon Taylor about his experience developing and directing this New Drama.

BUREAU: Although this is a wholly original production based on a true contemporary situation, did you look at crime dramas in your research within the genre ? William Wyler's The Desperate Hours with Humphrey Bogart comes to mind.

Deon Taylor: During the process of preparing for the production of "Supremacy" I worked very hard to stay away from films that lived in a world of containment or hostage situations. I wanted to test myself. I wanted to shoot from my heart and have no pre-game plan. I felt the story was so unique and had so many layers that, creatively, it needed me to be a blank canvas. On another note, I love "The Desperate Hours." Classic!

BUREAU: What particular challenges did you face in entirely switching modes here and taking on high drama ?

Deon Taylor: There were always challenges on this film. Personally, the biggest challenge was staying true to the family. The film is based on a true story and I wanted to be sure to stay in tune with the tragic events that took place that night. This was a challenge simply because, as a creative filmmaker, you’re always looking to see how you can make something bigger and more effective. This film taught me to live in the moment and simply be true to the story.

BUREAU: Working with Danny Glover is a godsend for any director, once you knew he was on board, discuss with our readers how the rest of the film fell into place.

Deon Taylor: Danny Glover is a godsend! Danny was my first call after reading the screenplay. I don't really have the words to explain how I felt once he said “yes” to the project. Danny has always been one of my favorites and represents so much to me. When I think of his career and his body of work, it's beyond amazing. You're talking about one of the first, Black, action heroes that had success globally. From "Silverado" to the "Lethal Weapon" franchise to "The Color Purple," how do you top that? Without talent like Danny Glover and Sidney Poitier, there would be no lane for incredible talents like Jamie Foxx, Will Smith or Denzel Washington. So when I go back to the call and hear the words, "Yes, I'm doing your movie," words cannot explain how I felt. It was simply a blessing and I am so grateful for him and the opportunity he allowed me to have. It is very hard to believe that Danny Glover has not been nominated for an Academy Award over his 40-year-career. He is Academy-worthy in my book and I love him.

BUREAU: Eric J. Adams wrote the screenplay for this riveting drama, when did you first read the script and what made you decide to take this project on as a director ?

Deon Taylor: I first read the script two years ago and everything in my body said, "Go make this film." As a 100 percent independent filmmaker, the challenge then became, "How do I raise the money needed to make such an important film?" I felt strongly about this film as my entire family has had dealings with race-related issues. I truly believed through film I could shine a light on ignorance.

BUREAU: Several dramatic scenes in the film depend highly on pitch perfect performance. Sparse dialogue and situation force some of your actors to find a certain tone: Lela Rochon rises to the challenge beautifully. Could you talk a bit about creating a

creative atmosphere on the set for your actors.

Deon Taylor: Lela Rochon is amazing! Her spirit is beautiful as well. When setting the stage for "Supremacy," I had to find the perfect locations in which the talent could immerse themselves. For high-energy characters like Lela, Joe and Dawn, I found myself talking to them constantly, building layers for their characters and creating backstories. This process was the key ingredient in grabbing these amazing performances.

BUREAU: In a film like this, the ending is all important, it's a bit of a nail biter. Since it is actually based on reality, what are the challenges of delivery a true story that thrills along the way ?

Deon Taylor: To this day, the ending of the film brings a tear to my eye. The speech, the energy, and the performances all mesh perfectly. I would love to take the credit but I give that to God, who allowed me to rewrite the end of the film on set with Danny, Joe and Eric. It was so cool! Going into the film, I knew I wanted the audience to go for a ride. I wanted to shoot this film in a way that would allow the audience to feel trapped and, at times, hot and confused, which is what the family felt. This was challenging at times due to the fact that I was shooting on 16 mm film, and we had no money. I simply had to truly do my homework and understand that I had no extra days or pick up days. What I shot is what I would have in editing. This makes you a bit more aggressive and it truly makes you work harder.

BUREAU: There is a real minimalist approach to background of characters due to the storyline. What challenges do you face when creating a cohesive world under theses conditions ?

Deon Taylor: The challenge is constant! The race overtones, the violence, the drama, the family being at odds the whole film - you find yourself emerged in this crazy world as a filmmaker. You take it home each and every night. You're dirty in a sense. That was how I felt. It was almost like a game. You're sweating, you're focused and you do not want to lose. So, the challenge simply becomes, "How do you get performances to be top of the line?" With the cast I had that was not hard! I love them all.

BUREAU: Joe Anderson puts in a fierce performance that is both extreme and magnetic.Would you describe the process from casting to final performance.

Deon Taylor: Joe Anderson is a star! From the moment Joe walked into the room for casting, I knew he had it. The challenge became how intense we wanted Tully to become. I tease Joe a lot because he knows how big a fan I am of his work. When I think of all the amazing talent in Hollywood like Bradley Cooper and Tom Hardy, I list Joe right up there. I've never seen anyone more committed than him. He pushes himself into an angry state to deliver. There were times that Joe and I would have a crazy argument over a scene and within a hour we would have nailed and then laugh about it.

BUREAU: Your film utilizes the psychological flashback as a sort of tension builder. How much leverage do you give your editor Richard B. Molina and describe a sequence

where he helped you to unify the project.

Deon Taylor: The process as a filmmaker is always difficult. When you are doing a project like "Supremacy," the relationship between editor and director has to be absolutely incredible. While in the cutting room with editor Richard Molina, we spent hours and hours collaborating on scenes and moments. We became best friends in a sense through the process. One scene that comes to mind when I think about Rich is the second flashback in the film. There is a scene where Tully and Doreen pull over and she goes to please him. The scene is very graphic and super intense. I originally removed it from the film. Even though I loved it, we pulled it because of time issues. Rich worked his ass off and trimmed multiple scenes in the film in order to allow that scene to make the cut. I love him. He is so great. It's funny because when I watch the new "300: Rise of an Empire," I can tell you what scenes Rich had his hands on. He is a genius.

BUREAU: Give our readers an example of how an actor influenced the shooting of a particular sequence and shaped the film in a way you might have done differently without their particular contribution.

Deon Taylor: While shooting the end of the film, we were set to shoot the final moment between Tully and Mr. Walker (Danny Glover). As we were reading the lines I could just feel the energy was a bit off between Danny and Joe. I yelled cut. I walked Danny to the side and he simply said, "We need more here." He was right. At that moment I stopped production, rewrote the entire last scene of the film and then shot it. To this day, that is my favorite moment in "Supremacy." Film Trailer:

https://www.youtube.com/watch?v=tp3gl4PLH9A

BUREAU FILMS : STARRED UP

Possibly one of the grittiest and edgiest prison dramas ever made. From the first minute to the last, the viewer is immersed into a world that is like no other. The rules, the politics, the grit, the realities, the drama, the edge, the sacrifices and the wild ride: simply amazing filmmaking. Well written and directed, extremely well produced with some of the rawest performances we have seen in a long time. "Starred Up" takes us into the British prison system through the eyes of a young offender whose father happens to also be locked up in the same particular institute. The performances are completely unleashed. Filmed in an actual facility and photographed 'in sequence', allowed the film maker David Mackenzie to utilize hand held, roving cameras Allowing his cast and crew to completely push the boundaries and push they do. The characterizations are explosive, from one moment to the next, we never know what will happen and where the story is headed. The atmosphere and detail is simply perfect in tone, style and mood. Each scene is important, the back story is thick, as are the accents. The plot and circumstances are all in place, but nothing seems more important than whatever moment we are actually experiencing. There is a complete an utter ' nowness ' to this production and it is an undeniable wild ride that you can't help but succumb to throughout the entire film. As of yet, it has not been released for U.S. audiences accept for the festival circuit. U.K. audiences loved it and Americans are sure to embrace this film for its originality, force and authenticity. A fabulously taut performance by Jack O'Connel as Eric Love and directed by David Mackenzie with a script by Jonathan Asser who had spent a good deal of time as a therapist within the system. Writer and Director worked closely for two years prior to shooting. A first screenplay for the writer turned out to be an extremely successful premiere work of art. We highly suggest this film and are now very interested in the other films by Mr Mackenzie, as well as his next production. This is a film that touches on relationships, trust, skill and politics as well as race, loyalty and survival. Produced by Gillian Berrie. Executive producers, Katherine Butler, Sam Lavender, David Mackenzie, James Atherton, Jan Pace, Norman Merry, Peter Hampden. Co- producer, Brian Coffey.

Link http://www.sigmafilms.com/films/starred-up/

12 MUST SEE FILMS , BUREAU OF ARTS AND CULTURE MAGAZINE 2015 FILMS,

BUREAU FILMS 12 Must See CLASSIC FILMS

That Express a certain Social Angst that is very much relevant for the Youth of Today's Society.

1) AMERICAN GRAFFITI

2) BIG WEDNESDAY

3) BREAKING A W A Y

4) CROOKLYN

5) LA BAMBA

6) OUTSIDERS

7) QUADROPHENIA

8) REBEL WITHOUT A CAUSE

9) REPO MAN

10) SWING KIDS

11) THE GRADUATE

12) WEST SIDE STORY

AMERICAN GRAFFITI

One of the most important films reflecting on American Pop Culture ever. Produced by Francis Ford Coppola. Directed by George Lucas. Starring a cast of new stars that have all gone on to have stellar careers in the film industry: actors, directors, producers. Richard Dreyfuss, Ron Howard, Harrison Ford, Cindy Williams, Suzanne Somers, Kathleen Quinlan, Candy Clark, Charles Martin Smith, Mackenzie Phillips, Bo Hopkins.A Film that holds up every time it is viewed. A nostalgic look at a time and a place in America just before we were hit with the death of the Kennedy's & other social leaders, Vietnam and a complicated world which forever changed our lives in America. This film went onto inspire the Television Show : HAPPY DAYS. As well as many teen / music films such as DAZED & CONFUSED by Independent Film Maker Richard LINKLATER. One can also see that this film production opened the door for Alan ARKUSH's Classic Musical Cult Teen Film: ROCK & ROLL HIGH SCHOOL. http://www.google.COM/#q=american+graffitti+cast

BIG WEDNESDAY

The most authentic fictional SURF FILM ever created. Directed and co - written by John Milius, who would go on to put a surf scene in just about every film he would ever participate in, most famously: the surf scene in APOCALYPSE NOW. This film seems to capture West Coast Surf culture with the perfect blend of the nostalgic aspects of the early days on into the more cynical ones. Friendships, initiations, love, war and growing up with the waves. Another perfect ensemble cast, an original musical score and a voice over narration that perfectly tells the story like a good book. For a full Review Visit The BUREAU of ARTS and Culture Film Page. http://www.imdb.com/title/tt0077235/fullcredits?ref_=tt_ql_1

BREAKING AWAY

Growing up poor or middle class in an area where others are more privileged is one of the themes running through this hilarious and charming film about Biking, Friendship, Playing by the Rules and yes, ' Breaking Away ' from the pack, traditions and false ideals. A story about finding & respecting yourself in a world that refuses to do so. Dennis Quaid in an early & heartfelt performance. Directed by Peter Yates with a screenplay by Steve Tesich. A great use of Classical Music throughout the entire production. Other cast members include: The incredible Paul Dooley as the dad, Barbara Berrie as the Mom and Dennis Christopher, Daniel Stern and Jackie Earle Haley as ' The Cutters ' [ for cutting school ]. A fabulous uplifting production. http://www.google.COM/#q=Breaking+away+the+film+cast

CROOKLYN

Spike Lee dishes up this family film which is loosely based on scenarios created by his brother and sister and thier early childhood in Brooklyn. A hilarious film that personifies the 1970's with all the pitch perfect hooks and props, music and experiences that define the period. A heartbreaking and yet wonderfully funny film that nails exactly what many of us went through during our childhood experiences in America at that particular time and place. Outstanding performances by the entire cast. As usual Spike Lee's casting choices from Del Roy Lindo as the dad, Alfre Woodard as the mom and a whole crop of new young actors as well as Isaiah Washington, RuPaul, Vondie Curtis-Hall and of course Zelda Harris as the young girl who plays our lead character. With a great soundtrack, richly produced and as usual great direction.http://www.google.COM/#q=Crroklyn+cast

LA BAMBA

A musical bio that lovingly tells the story of singer Ritchie Valens, though at the same time, tells a basic family dynamic of growing up, falling in love, being accepted or not and dealing with life's opportunities under pressure. A fabulous soundtrack that helped to put the band Los Lobos on the map. This was a follow up to the success of Luis Valdez's play & film ZOOT SUIT. With themes that describe the latino experience, musical prodigies, inter racial love and crossing over into the mainstream American music charts. This film, along with the Buddy Holly Story, Great Balls of Fire and the many films on Elvis Presley,opened the door for the entire genre of music biographies that have lead up to: RAY, Walk the Line, Sid and Nancy. Lou Diamond Phillips in his first starring role, Esia Morales in a pinnacle supporting role as Ritchie's brother, Rosanna DeSoto as the mom and Joe Pantoliano, Elizabeth Pena, Brian Seltzer and Tony Genaro supporting. http://www.google.COM/#q=La+bamba+cast

The OUTSIDERS

An outstanding adaption of an S. E. Hinton novel by Francis Ford Coppola. The perfect film that reflects life on the, ' other side of the tracks '. Another film that has a cast of new stars that will all go onto great careers in film: C. Thomas Howell, Matt Dillon, Emelio Estevez, Rob Lowe, Patrick Swayze, Tom Cruise, and Coppola regulars: Tom Waits, Diane Lane & Glen Withrow. Heroic and authentic, sympathetic and rough, innocent and tough, all without any slips in performance, style or structure, a really great film about family, friends, tribes and looking back one more time, before moving forward again. What's it like to be an American in the middle of America ? This is what it's like. http://www.google.COM/#q=outsiders+cast

QUADROPHENIA

The first of several great films created by The Classic Rock & Roll Band: The WHO. A semi autobiographical tale of Mods and Rockers in and around the London music scene just prior to the creation of bands like the WHO. the clash between the Mods and the rockers, not unlike the same clash we see within the other films listed in this review: The Outsiders, Breaking Away, Rebel without a Cause, Big Wednseday. The Who will go onto create, The Kids are Allright & the Classic Rock opera TOMMY. Being authentic, demanding respect from authority, rebelling against previous values and searching for acceptance, but ultimately tossing it all away for self respect are just a few of the themes in this great fictional film. Once again, many of the cast members will become regulars and have entire careers and comebacks time and time again. Most notably: Ray Winstone in Sexy Beast, Timothy Spell in a series of films with the great Mike Leigh, Sting and of course a very young Phil Daniels, Leslie Ash, Mark Wingett, Phil Davis. Directed by Franc Roddam. With music by The WHO and the use of period music specifically Booker T and the MG's classic 'Green Onions', which is also used in American Graffiti http://www.google.COM/#q=QUADROPHENIA+cast

REBEL WITHOUT A CAUSE

The benchmark of all great films about growing up. There had many teen films before, but none could ever touch it after. The fact that it was filmed in technicolor put it a cut above the juvenile delinquent genre that had been mostly filmed in low budget black & white. Of course, the pinnacle performance by James Dean in a role that absolutely never goes out of style. Every generation rediscovers this film and immediately relates. His sensitivity, his search for truth, his sympathy towards Sal Mineo and his love for Natalie Wood as well as the need to be accepted and respected all ring true to the kids of today's society. The other films in this article could never have existed without the creation and popularity of Rebel without a Cause. This is the quintessential teen film. Although, it also speaks to the ever changing evolution from one generation to another. A great original soundtrack, rich technicolor and realistic and dramatic performances. Directed by Nicholas Ray, written by Stewart Stern based on a story by Irving Schulman.http://www.google.COM/#q=rebel+without+a+cause+cast

REPO MAN

Another small but interesting film about life in Los Angeles by director Alex COX, who would later direct the classic Sid and Nancy biop on Sid Vicious of the Sex Pistols Punk rock band that helped to start an entire revolution in rock and roll music that still exists. Repo Man weaves between the new music of the time and the different types of folks who inhabit Los Angeles. The film is a satire on all types of people, much like the music of that time, bands like Black Flag, The Circle Jerks, Iggy Pop, Suicidal Tendencies, The Plugz and FEAR all made fun of society, so too does this film. With Emelio Estevez and Harry Dean Stanton battling it out with for and among space aliens, low riders, musicians and of course stealing back automobiles. Car chases through the L.A. River, Low budget special effects and performances by many real musicians such as band members of The Untouchables and Circle Jerks make this a sort of time capsule of a time and a place. At the time, this film was considered a cynical look at society, looking back at it today, its almost innocent. http://www.imdb.com/title/tt0087995/

SWING KIDS

Music, politics and friendship collide into a whirlwind force among a group of friends in Germany during the take over of Europe. Inspired loosely on actual events in the life of people such as Django Reinhardt. Another cast of important actors including: Christian Bale, Frank Whaley, Robert Sean Leonard and Barbara Hershey. Loyalty is the running theme in this music filled portrait which starts out as a story of friendship but swiftly veers into a political thriller of the historical variety. An outstanding sound track with great performances by an ensemble cast. The film asks us how far will we go to be a success in our own time and place ? Loyalty to friends, to our own values,

to our life may be more important than acceptance by the group, especially when the group is a destructive, controlling and obvious plague on a free society such as ours.http://www.google.com/#q=swing+kids+cast

THE GRADUATE

A hilarious, sensitive and heartbreaking story of one young man's journey into self discovery after graduating from college. The film that put Dustin Hoffman on the map. A soundtrack that launched Simon & Garfunkle into music stardom. As well as introducing the directing career of, up to that point, comedian Mike Nichols who with Elaine May, had a string of successful comedic albums based on their night club act. With a screenplay co written by Buck Henry of Saturday Night live fame and career making appearances by Anne Bancroft, Norman Fell, Katherine Ross, William Daniels and Murray Hamilton uttering the now classic, phrase, " I have one word for you ... PLASTICS." Which seems to personify the artificial world that Hoffman's character is thrust into. An entirely different kind of comedy that broke the mold on controversy, humor and the sad realities

that would lie ahead for an entire generation in search of truth, love and once again, breaking away from the values of those that have preceded us. A great film with a surprise ending that still to this day, is embarrassing, exulting and always entertaining. Somewhere between the sympathetic soundtrack, the innocent performances and the heartfelt realities of life, a strange and original cinematic experience emerges. No film has ever matched this blend since. The graduate opened the door to a slew of new films: http://www.google.com/#q=the+graduate+cast

WEST SIDE STORY

The classic updated version of Romeo & Juliet told here in New York City, between two rival gangs of kids from different ethnic backgrounds. This film still holds up in every way, shape and form. Cinematography, costumes, dialogue, songs and of course the transformative choreography and music. Leonard Bernstein developed this project for well over a decade and to this day it is as fresh and relevant as any film about the youth of society today. Romance, violence, loyalty and the difficulty in crossing over from the folks you were born with into the person you are in love with, are just a few of the themes touch on here. The song lyrics are so entirely up to date, that it is downright astounding how fresh and relevant this film is. Marijuana, Cops and Detectives, Gangs, Social Workers, Fashion and most of all Love. This film becomes more and more impressive as time goes on. West Side Story contains performances by natalie Wood, Rita Moreno, Russ Tamblyn, David Winters, George Chakiris, Tucker Smith and a cast of outstanding actors /dancers and of course a soundtrack that makes it an utter and complete classic film that will never go out of style.

FILM : ON THE ROAD

By Joshua Triliegi

The performances as far as I am concerned, are pitch perfect. Accents, performances, style and character development as well as a commitment to realistic personifications are entirely delivered with a loyalty to truth, legend and entertainment. This is dangerous. This is exciting. This is Inspiring. This is On The Road and life after Neil Cassady will never be the same again. For those not ' In The Know ' heres a primer. Have you ever had a best friend ? Attractive, exciting, dangerous, from the wrong side of the tracks ? Someone who showed you a side of life never seen within your own house, neighborhood, city, state, country ? Well, Jack Kerouac did, he had several, but his old pal Neil took the cake. Sure, he also had Allen Ginsberg, who would go onto write the famous poem that was banned for indecency entitled, " HOWL ". These days it is taught as a major work of art at places like West Point Academy. He also had William Burroughs famous for his dangerously subversive novel entitled, " Naked Lunch " another Beat film which was also brought to the big screen by Canadian director, David Cronenberg. Another dangerously loyal film adaption that went way beyond the book into the realm of Burroughs-ian-Land.

Jack was a French Catholic boy who loved America dearly, hated suppressive government and wanted to express that in his work. On The Road was his opus which sat around for years, influencing his friends as well as informing his detractors and pissing off the squares who had no idea what he was talking about most of the time. The film offers a straight ahead, lush and lovely offering - like version of the written word that is bound to ruffle a few feathers, scare a few squares, rattle a few cages and inspire more than a few too read the novels and break free once again. Its a beautiful look at an oppressive time in America. These are the Mc Carthy Years. the time of the black lists in Hollywood and New York. Eisenhower, Truman, etc...

The story and film itself is insulated by its own parameters of friendship, loyalty, love, sex, drugs and endless searchings for kicks, kicks, kicks. Do you know the song lyric, " Get your kicks on Route 66 ... " ? The popularity of goatee beards, black sunglasses, black clothes, jazz music for white folks, coffeehouses, Bob Dylan, poetry, classic cars, the popularity of Marijuana, traveling by bus, car and railway, heading West, the entire hippy movement, rock and roll, tune in , turn on and drop out, as well as the writings of folks who brought us : One Flew Over The Cuckoos Nest, Easy Rider and This film here, all of it stems from the pen, the mind, the man, the myth, the legend that is Jack Kerouac. The canon of influence that ON THE ROAD and HOWL and NAKED LUNCH had is quite immense. These folks were dealing with themes and taboos that have been broken wide open : Mixed Race Couples, Gay Sex, Marijuana. In the nineteen fifties, you went to jail, were beaten down or in some case were actually killed for being outside the system. Some would argue that some of these restrictions have creeped up on us again.

In any event, this an outstanding rendition of a classic American Novel that to be sure, Jack Kerouac and his pals, gals and fans would be very proud of. It's the real thing. A word about the production design. Flawless costumes, atmosphere, hand held camera work that captures the mystery, mastery and misanthropy as well as the come downs from the heavy high of being On The Road and having to come home, back down to Earth, back to the real world. I'm unsure what the average American viewer will think of all the sex, drugs and rock & roll. There are plenty of inside jokes for beat fans, beat readers and those who actually lived through this period of time. I will say that the performances are explicit, expressive and exciting as well as entertaining. There is just the right amount of travel across America and into Mexico as well as a balanced display of the price this type of life costed the participants as well as the friends and relatives of those nearby. For Jack, it gave him life lessons, broke his heart, gave him a novel and taught him a thing or two about loyalty, friendship, love, freedom and the boundaries thereof. For beat fans this is a fabulous film, for the actors, maybe a nomination, for the producer and director, one can only hope for a few awards by early next year. Ya got my vote. Because the only ones for me are the mad ones, the ones who are mad to live, mad to be saved, desirous of everything...

Film Review : HESHER

In a return to truly independent filmmaking, the kind that is edgy, provocative, humorous as well as a frank commentary on the American male psyche, Spencer Susser delivers the goods. Hesher is a film that will make you squirm as well as laugh at where we are in today's society. Out of nowhere a foul mouthed outlaw rocker appears in the life of an average young American boy going through a tough period in his life. The question here is wether the title character is real or simply imagined by the young man in this film, simply named, ' T.J. '. Recovering from the loss of his mother in a car accident and the deep depression of his father, while seemingly ignoring his grandmother, T.J. taps into the power of Rock & Roll. With slight allusion to Jesus Christ, Joseph Campbell' s myth- ology of the male as well as the current challenges for young women, old women, the working class and the emasculated male, Susser and his brilliant cast which includes Joseph Gordon Levitt & Piper Laurie, bring to the fore a dangerous little film. This is the type of filmmaking which is totally new territory.

A mix of humor, tension, allegory and a big dose of satire which embroils into the dark humor that folks like JohnBelushi and others attempted to dish out in the eighties, but often missed by just a few notches. Susser is outstanding in his ability to be both audacious and make a serious commentary on why young Americans either are or should be very upset by their current circumstances . The lack of job opportunities, the inability to get enough hours if you do have a job, the housing market situation , etc, etc, etc... Rebel with a cause is more like it. Hesher is the new James Dean character and Natalie Portman plays his Natalie Wood accordingly. T.J. is not quite our Sal Mineo, though there are scenes which expound upon the same issues that were properly placed within the of the classic teenage angst that were so well expressed in that particular time and place. In this case T.J. & Hesher are both the James Dean character and together they lift up the father figure, whom too is broken and emasculated by his experience as a good dad in todays American society. Mom is absent, she has passed on.

Grandma and Hesher share a liking for Medical Marijuana and somehow, some- where in this strange little suburban world T.J., his father, the local cashier & Grandma all transform into something different from what they were. One thinks of the situation that happened in Memphis and Hard Rock & Roll loving young men whom were falsely accused and convicted of crimes they did not commit. In this fantasy like satire, the spirit of hard driving rock & roll is resurrected in the title character's every move. Creating a kind of imaginary angel whom may or may not be a figment of T.J.s imagination, rage and downright frustration at being picked on by the local bully & or watching the girl you love being taken away by someone else or watching dad fall apart before our eyes. By the films end, we see the world a little differently, Hesher is gone but the song remains the same, albeit with a slightly tougher and wiser young T.J. We get the sense that the mythological big foot appeared and left his foot prints on the front yard of American Suburbia. This type of filmmaking would not exist without the extremely brave producers whom must have had a challenge cobbling enough money to make this film.

The cast/crew are pitch perfect. Everything works here. Susser and his gang are on to something that we as the public are dealing with on a daily basis. They have tapped into a kind of movie making that bites like films from other eras that definitely hit hard, fast & mean. Who' s Afraid of Virginia Wolfe ? and also The Sweet Smell of Success come to mind. Check out Ernest Lehman's career. Susser is one to watch. Hesher hits the mark at every turn, I highly suggest everyone to watch it. It is Currently Playing on HBO the Home Box Office Entertainment Cable Channel which seems to be producing and screening top entertainment.

BIG WEDNESDAY:"Nobody Surfs Forever"

A Thirty Five Year Anniversary Appreciation By Joshua A. TRILIEGI

It's hard to believe that thirty - five years have passed since this classic surf film about California and specifically Malibu beach surfing culture, characters and history had its debut. Upon re watching this classic film recently, I was drawn into a kind of nostalgia that reminded me of other classic films from the seventies that seem to define the formative years here in California. American Graffiti being the other fine example of a piece of cinema that celebrates, defines & indeed explains to outsiders what it was like to be a part of a California subculture that has since gone mainstream: Classic Cars. Big Wednesday does the same thing for Surfing. These days surfing and its nearest offspring, skateboarding, are world renown industries owned by a hand full of companies, corporations, associations and ecologically informed non-profit organizations. But back in the day, guys like Leroy, Jack and Matt made California surfing. The lifestyle and its loyalty to expressing ones self with nature was a coveted and special relationship that each surfer had on his or her own. It was a private experience one had with the waves, the coast, the ocean, the earth itself. It is a sacred thing to drop in on a wave and ride it as long as one is able. Honing a craft, one-second at a time, in unison with mother nature. Simply, a person, their craft and the ocean itself relating to one another.

I recently took a bike ride along all the coast passing all best surf spots where much of the film was photographed. Pacific Coast Highway starting at the County Line, Topanga Canyon & on into Malibu Beach. Re visiting these historic beaches and film locations is a beautiful way to understand the art of surfing. Reviewing the motion picture Big Wednesday directed by John Milius and starring Gary Busey, Jan Michael Vincent and William Katt and thinking about their careers & some of the damage done personally was a bit heartbreaking. I guess that's the power of film to preserve a time and a place. To express a moment in time, be it, documentary, fiction or otherwise. As far as surf films go, when it comes to fictional versions of what surfing is about, Big Wednesday, in my book, is simply the best at capturing the philosophy, the lifestyle & the character of what it is to be a surfer at that particular time and place: the 1960's and its transition into the early seventies. With a cameo by Legendary Lightening Bolt founder and classic surfer, Jerry Lopez. An important casting choice that gives the film a groundedness in reality & boosted its credibility with real surf fans during its heyday & initial release. The red surfboard with a yellow lightening bolt placed directly in a vertical fashion down the center of the board was & will always be as iconic as a Mercedes Benz logo. There are the documentaries by Bruce Brown: Endless Summer and the like. As well as a catalogue of other classics such as Five Summer Stories & the others within the genre. More recently Stacy Peralta' s Dogtown Documentary & subsequent Lords of Dogtown as well as his Big Wave Surf documentaries have added more information to surfing dialogue. But still and all, Big Wednesday is king. I know because I grew up and witnessed the tail end of this particular period and hung out with and admired the older guys who were a part of this important period in West Coast & specifically Southern California surf culture.

Big Wednesday captures the music, the friendship, the heroic stature, the generation to generation torch passing, the gaining your friends/losing your friends aspect of growing up. The original musical compositions by Basil Poledouris and theme songs hold up just fine. Nothing is too trendy or dated, The costumes, sets, locations and acting are what we call pitch perfect. The props and logos have become legendary. The BEAR logo to this day is being reprinted and celebrated on sweatshirts, classic cars and stickers. Big Wednesday is a classic film in the Warner Brothers catalogue that helped to redefine a generation of West Coast culture: surfing, skateboarding and the California cool that people from all over the world appreciate, envy and honor, sometimes more than the locals themselves. The actors actually did most of their own surfing in this film, which is rare. There are surfing doubles, but the editing and cinematography is extremely well done for its time. Shot on real film, on location, with a group of actors and actresses, including Lee Purcell and Patti D'Arbanville at the very end of a time & place when Hollywood was able to create stories that were highly dependent on character, story and emotional content.

This year, we will be given another opus film by one of the greatest film makers that America has ever created. Strange and challenged experiences in life seem to create great artists of a major caliber. Martin Scorsese was a child entangled with sickness, born of Italian parents in a tough neighborhood, he retreated into the great movie houses of New York City, learned the craft of classic film making by watching the great early American directors such as John Ford, John Huston and Orson Welles. From the European masters, Mr. Scorsese was influenced by Alfred Hitchcock, Luchino Visconti, Jean Renoir, Michael Powell, Roberto Rosellini, Frederico Fellini, Andrzel Wajda & Mizoguchi Kenji among others. After creating a few exercises , which is often what first films can be, he created what most feel is his first 'real film' : MEAN STREETS. Famously coached by Independent film maker & actor John Casavettes, who told Mr. Scorsese to go make a real film. And indeed he did. Early on in the production New Yorkers began to hassle the young director, 'There's nothing Mean about these streets.' , they shouted. Early on, Mr. Scorsese attracted controversy and it has stayed with him throughout his career. Taxi Driver and The last Temptation of Christ, possibly creating the most amount of misunderstanding & friction that only seemed to fuel his inspiration and also led to a good deal of what we commonly call in the business: Free Advertising.

MARTIN SCORSESE :

One of AMERICA's Most Important Film Makers By Joshua TRILIEGI

Strange and challenged experiences in life seem to create great artists of a major caliber. Martin Scorsese was a child entangled with sickness, born of Italian parents in a tough neighborhood, he retreated into the great movie houses of New York City, learned the craft of classic film making by watching the great early American directors such as John Ford, John Huston and Orson Welles. From the European masters, Mr. Scorsese was influenced by Alfred Hitchcock, Luchino Visconti, Jean Renoir, Michael Powell, Roberto Rosellini, Frederico Fellini, Andrzel Wajda & Mizoguchi Kenji among others. After creating a few exercises , which is often what first films can be, he created what most feel is his first 'real film' : MEAN STREETS. Famously coached by Independent film maker & actor John Casavettes, who told Mr. Scorsese to go make a real film. And indeed he did. Early on in the production New Yorkers began to hassle the young director, 'There's nothing Mean about these streets.' , they shouted. Early on, Mr. Scorsese attracted controversy and it has stayed with him throughout his career. Taxi Driver and The last Temptation of Christ, possibly creating the most amount of misunderstanding & friction that only seemed to fuel his inspiration and also led to a good deal of what we commonly call in the business: Free Advertising.

In 1974, while putting together, Alice doesn't live Here Anymore, he approached Ellen Burstyn for the role of Alice. While reviewing his films up to that point Ms. Burstyn point blank asked the young director if he knew 'Anything' about women, his answer ? 'No, but I'm willing to learn'. The film went on to create accolades for both Ms. Burstyn, her co star, Kris Kristofferson and a little known discovery: Jodie Foster. Ms. foster would go onto a nomination for her role in Taxi Driver, creating a backlash and more controversy for the Director. As well as awards and acceptance from the global film community and Hollywood critics.

In 1977, his love of early musicals, music always plays a big part in any Scorsese production, led him to new York, New York, which was again, out of synch with the public's taste, yet still and all, is a lavish production.

In 1980, Mr Scorsese's relationship with Robert De Niro led him to direct the boxing film Raging Bull, which was a brutal and realistic portrait of Jake La Motta. Shot in classic black & white, unheard of at the time, winning an Oscar for his long time collaborator, Mr.De Niro and soon to be stalwart Scorsese actor Joe Pesci, as well as the discovery of actress Cathy Moriarty. The sound design is phenomenal, each boxing match is shot with a variation, the scenes in between the matches often, quiet & still, one can easily see Mr. Scorsese's influence by the Italian Neo -Realists here: Visconti, Rosellini and a love of the early boxing Films of the 1940's and 1950's. I was honored to visit the Film Set of this production and had the pleasure of lunching with Mr De Niro, meeting the real Jake La Motta and viewing the master director at work with thousands of extras in costume. Something I can only liken to watching Rembrandt paint an oil painting in his studio one afternoon.

In 1983, Mr Scorsese took on the world of comedy's underbelly & the aspects of fame that can lead to desperation, insanity and obsession with The King of Comedy. Jerry Lewis, Robert De Niro and Sandra Bernhardt collide in this wacky, dark and uncomfortable look at the sidelines of television and entertainment. A visionary work that hints at where we are today with fans obsessive attachment to the famous, rich and influential entertainers of television, music & filmmaking.

In 1985, Mr Scorsese directed one of the films that are sometimes known as his smaller films: After Hours. A crazy, funny and Art House hit that has comedic flare and wit, utilizing the art world, New York's neighborhoods and a hipster paranoia that reminds one of films like, 'Its a mad, mad, mad, mad World'.

Also included in this category would be 1986' s The Color of Money, which was a sort of Part Two to The Hustler, starring Paul Newman as fast Eddie Felson and utilizing a rising young star Tom Cruz. The film was a comeback for Paul Newman and is a great piece of cinema that takes us deep into the world of Pool Hall hustling & another early cameo by the great actor Forrest Whittaker. Mr Scorsese is a lot like Spike Lee, in that they both court controversy and have a tendency to discover great new talent: Sam Jackson for instance.

1988 brought us, The Last Temptation of Christ, which emblazoned a sort of hysteria from christians which unfortunately marred the audiences opinions against an otherwise thoughtful and interesting take on the possibilities of the life of the man known as Jesus the Christ. It is ultimately and interesting an thoughtful piece with an outstanding and inspired performance by Willem Defoe and guest performers such as John Lurie and David Bowie. Mr Scorsese's casting choices are always a big part of his creative collaboration and process. Universal Studios was demonized for the movie, most of the protestors had never even seen the movie. Mr Scorsese was somewhat surprised by the reaction.

In 1990, Martin Scorsese returned to the screen with what would be considered an entire and utter Classic: GoodFellas. Up to this point possibly his best film ever. A great script, performances by De Niro, Pesci and Ray Liotta that stand the test of time, a return to the Italian American experience that Mr. Scorsese knows very well. Awards from every important film organization and three of the big Academy Nominations: Best Picture, Best Director, Best Adapted Screenplay.

In 1991. Mr Scorsese brought us a remake with Cape Fear. Another strange, dark and menacing drama that pits Jessica Lange and Nick Nolte, whom the director had worked with in his section of a three short story feature : New York Stories, which also starred a new face on the screen: Steve Buscemi of Boardwalk Empire fame.

In 1993, Mr Scorsese took on what might be considered his classic film renditions. One can see his love of great classic films such as Gone with the Wind in this film: The Age of Innocence. A giant colorful tapestry laden with lush food, flowers, costumes and the beginning of a great collaboration with actor Daniel Day Lewis, who would return to the Scorsese camp for Gangs of New York almost a decade later. More Nominations: Best Director, Best Adapted Screenplay, etc ...

In 1995, A return to the big Italian American genre that brought us Mean Streets and Goodfellas, a completion of what may be considered his italian trilogy, the epic film: CASINO. De Niro and Pesci return to the scene as well as interesting casting choices like Don Rickles as a casino pit boss, who would have thought of that ? An incredible and tour de force performance by Sharon Stone putting her front and center as a powerful actress in top notch form, deserving of dollars & respect. possibly one of his best films up to that point in his career. A classic loved by all.

In 1997, Mr Scorsese, visits the asian inspired, Kundun. A tibetan tale of struggle and politics that surround the tibetan country and it's people. Some said he was out of his element here, but, even when Mr Scorsese stretches his boundaries as he did here, there is enough on the screen to inspire, teach and yes, entertain.

In 1999, BRINGING OUT THE DEAD Scorsese teams up with Nicolas Cage in this adrenaline fueled story of an ambulance driver and his nightmare like work place: The streets of the big city. A sort of Taxi driver like return to working class obsession and hallucination. Cage puts in a performance of a lifetime, while John goodman watches his partners slow descent into an insomnia induced insanity. The camera work here is fabulous. Another street film that utilizes the city itself as a character and even as the villain.

In 2002, a return to the big costume period film genre that was hinted at with Age of Innocence, but this time with the proper amount of guts and glory that seem to inspire this director and satisfy his audience. A large and difficult film that combines historical aspects of Scorsese's beloved New York City with the struggles of early Americans, religion, politics and dramatic storytelling. With performances by Leonardo De Caprio, who will become one of Mr Scorsese's greatest collaborators time and time again: The Aviator, The Departed, Shutter Island and this years The Wolf of Wall Street. The Gangs of New York is an epic tale that brings back Daniel Day Lewis in a terrifying performance as Bill The Butcher with a Who's Who of acting from both American and European Actors, straddling the dangerous territory of accents, costumes and acting styles that are difficult to put on the screen in one entire production. This is Mr. Scorsese as oil painter extraordinaire, his largest series to date. A difficult challenge indeed. We begin to see Mr Scorsese's use of the digital format utilized here in outrageous shots, set pieces and tunneling like transformations from full shots high above the city to close ups entering a characters pupils. This is the master film maker having a field day with the best actors, designers & collaborators on the planet. Amazing. Nominations All Around

In 2004, Mr Scorsese and De Caprio return to give us an inside look at the much talked about life of Howard Hughes. An interesting film with both Vegas, Hollywood and the insanity of being an artist, creator and inventor as well as the burdens of success in all walks of the American dream. A paranoid yet somehow innocent and success driven story with interesting performances and some would say incongruous casting choices, though still and all, great efforts by all involved. A dark, lush film shot with a somber and rich palette. Mr Scorsese is an artist first, film maker second, historian third. it shows here and this is a compelling film that thrusts us into Hughes world, and leaves us at his door step at the very end. Broken, battered, wondering. Nominations All Around.

In 2006, Mr Scorsese takes on the Irish Boston mob scene with The Departed. Working with Jack Nicholson, who was famously cajoled by the likes of Mark Wahlberg and De Caprio to participate in this picture. A return to the Goodfella's like genre complete with FBI Agents, Irish Gang Ethos and codes of conduct. This film is driven mostly by great performances by both Wahlberg and De Caprio. One can see there keen interest in the project and their enthusiasm and ability carries the film up and over whatever limitations exist within the written material. Best Director Awards across the board: The Academy, Golden Globe, Everyone agrees Martin Scorsese is a master film maker who tells stories that are true to America.

In 2010, Mr Scorsese and Leonardo De Caprio stay several steps ahead of their audience in this strange, psycho drama of the old school variety: Shutter Island. A head scratcher to say the least. A psyche out of the Hitchcockian variety: Rear Window with Shutters on it. Another dark and rather difficult film to view. Leonardo De Caprio twisting and retching about in a manner reminiscent of his early and incredibly naked performances such as his role in Gilbert Grape. Another brave & discordant rendition that is probably a bit ahead of it's time. Many of Mr Scorsese's films are decades ahead, creating entire genres & a new crop of film makers who fill a certain void: Jim Jarmusch, Spike Lee, Paul Thomas Anderson. In 2011, Mr Scorsese utilizes the digital media to create a life long dream project: HUGO. Which is a much more mainstream project that catapults his popularity into the mainstream for audiences of all ages. Over 35 nominations from film organizations around the world recognize his talent, efforts and contributions.

Which brings us to 2013, The Wolf of Wall Street. Starring Leonardo De Caprio, one of his greatest collaborators, based on a great book, Mr. Scorsese always does well with adaptions. A story line that Americans will indeed be interested in & already everyone is talking about this film. We are looking froward to seeing it and you will find a review on these pages. Of course the Documentaries have not been mentioned in this appreciation, but Mr Scorsese is a fine and thorough documentarian: Contributions to WoodStock, The Last Waltz, The Blues, Shine a Light, George Harrison and a slew of important short films. Mr Scorsese is also the executive producer and pilot creator of important cable film series such as Board Walk Empire on HBO Home Box office.

PARIS,TEXAS at 30 YEARS

Directed by Wim Wenders Based on The Motel Chronicles Written by Sam Shepard

Starring: Natassja Kinski, Harry Dean Stanton, Dean Stockwell, Hunter Carson , Aurore Clement, John Lurie & Bernhard Wicki

Paris Texas: what a film! One of those translation projects that are the perfect blend of producing, writing and directing. So seldom does a European director truly understand the work of an American writer that he or she can take the original source material and arrive at something as epic, important and truly American as Wim Wenders did with this film. Paris, Texas is loosely based on the Motel Chronicles by Sam Shepard: writer, actor & all around influential poet, playwright, essayist. Author of The Rolling Thunder Logbook, an 'on tour' diary with Bob Dylan. Friend to Patti Smith, author of Fool for Love, True West and countless other original & important plays. Most of our readers will remember Sam Shepard as Chuck Yeager in The Right Stuff, the space film that opened up an entire genre. Sam Shepard is sort of the last of the real cowboys, he is a pure root connection to the West. Mr. Shepard understands the myths, the values, The Old West and The New West. Wim Wenders understands Shepard wholeheartedly, creating a fabulous combination that works from start to finish.

"In the 1980's, if you were studying writing, acting or directing, there were three major influences & original styles in which you had to overcome: Sam Shepard, David Mamet and Charles Bukowski. If forced to add a fourth, it would have been, for me: Luis Valdez."

In the 1980's, if you were studying writing, acting or directing, there were three major influences & original styles in which you had to overcome: Sam Shepard, David Mamet and Charles Bukowski. If forced to add a fourth, it would have been, for me: Luis Valdez. On the one hand, you could not ignore their presence, on the other hand, you had to learn what they had to offer and forge ahead to create a style and a body of work that was all your own. Not everyone in my peer group was able to overcome and or accept those lessons, very few would ever forge ahead and fewer less are even still trying to this day. This film, much like many of Shepard's plays, tracks the lives of two brothers. Not exactly Cane and Abel, though, there is a touch of that, without the harsh judgements. The film stars Harry Dean Stanton in one of his rare, serious & thoroughly leading roles as Travis, a down and way out figure of a man who crumbled, then quickly disappeared after the tragic break up of his marriage. Leaving behind a young son, who is now being raised by his brother and the brother's wife. This is a family mystery without any obvious genre's or influences to compare it. A wholly original film that was an influence on many of the film makers working in the nineteen eighties. Paris, Texas put Wenders on the map.

Natassja Kinski plays the long lost wife to Travis and the missing mother to Hunter, their son. A completely fresh & flawless child performance, by the actor of the same name Hunter Carson, not seen on the screen since the likes of Gem & Scout in the classic film, "To Kill a Mockingbird". The film takes us from Mexico into Los Angeles & eventually into Huston, Texas, in a search for the meaning of life, relationships, love and resolution. A pitch perfect soundtrack & score by Ry Cooder [ The Havana Social Club] . Fine Art Cinematography by the master film maker Robby Mueller. Adapted to the screen by L. M. Kit Carson, who has taken the source material and transformed it, by also lifting all the textural hooks, symbols and basic symbology from the Shepard canon of works to create this masterpiece of a film. From the first frame, to the last, we are given a faded piece of Americana that one finds in Hank Williams' songs, old scrap books, sun faded photographs, classic cars, antique stores & long lost love letters. Travis slowly comes back to life, piecing together his troubled past, meeting his son after many years and finding himself in an identity crisis. As a father, a brother and a human being living in the modern world.

Dean Stockwell [ Blue Velvet ] plays the brother, Walt, who runs a billboard company. Upon their awkward & unexpected reunion, Travis excitedly exclaims, " So you're the guy who makes those… " unaware of worldly issues. Travis is a tragically poetic human, trapped in the past, a total innocent. A throwback to another time and another place, obsessed with his parents lives, myths & the legends and little known facts that some times make up our lives. Where it was that our parents first met, what daddy often said while introducing mother at parties. The past looms large in Sam Shepard's plays and here, in Paris Texas, that past is everything. "Daddy would say that momma was from Paris and he'd wait to get their reaction before saying, from Paris, ... Texas." The film picks up a certain pace, charm and bravado once Travis and his son Hunter take to the road. A beautiful and funny, heartfelt search for the woman neither has seen in several years.

The search for the love of ones life. The search for mom. The search for a broken past. The search for some kind of a resolution. Hunter and Travis bond on the road, when it comes time to call home, Travis tells Hunter, "You have to do it." And indeed he does, in a phone booth, at sunset, the call completely startles the would-be foster parents, thoroughly delighting the audience to see father and son take to the road in the great American journey in search for the future, the past, and in this case, the present. Armed with toy walkie - talkies, a vintage car and nothing more than a few memories enlivened by old super 8 movies, the duo get to know one another, father and son changing roles along the way. Hunter leads the search, while Travis drifts into a mental absentia. Eventually, the bond is forged. Father & son eventually find mom. This is pure cinematic poetry. A one time effort that could never be repeated. A French/German production filmed in America with an international cast. One of the best films made in the Nineteen Eighties Canon and possibly one of the best films about America ever made by a European Director.

BUREAU FILM SCORE: To Kill a Mockingbird

By Joshua Triliegi

Elmer Bernstein's score for To Kill a Mockingbird may just be the most perfect understanding of Literature, Cinema and Musical Orchestration ever created. Mr.Bernstein, who was blacklisted, some years later, made a fabulous comeback with, of all things, his score for John Landis's Animal House. By pulling great musical stunts as a straight man to Landis' pranks. Remember the score to that film ? Heroic like anthems, every time Belushi and his cohorts take on the conservative views of The University. It worked wonderfully and Mr Bernstein was back in business again. I recall meeting Elmer Bernstein at The Academy of Motion Pictures Arts & Sciences, where he presented and discussed To Kill a Mockingbird in - depth. It was quite an evening. A wonderful man. Not just his music, not just his understanding of the human drama, nor his ability to forgive an industry that turned it's back on him, but the man himself. He was a winner and after all these years that score still rings true to me and to millions of cinema lovers around the world. Most folks agree that the book written by Harper Lee and the film by Robert Mulligan and Alan Pakula are incredible. But why ? The acting, yes, quite amazing with performances by two incredible children actors. And of course the apex of Gregory Peck's craft as actor, humanist, artist. But it is indeed the music. The opening theme, a sweeping and steady mid west warmth reminiscent of Mr Bernstein's early influences and one of his mentors: Aaron Copland. Copland encouraged the young musician based on his improvisations and suggested teachers, courses and a direction that led to more creativity.

Elmer Bernstein's was a part of a world where, if you were interested in the arts, that meant every facet: he studied acting, dance and performed on Broadway as a child. He was recognized as a painter early on & even approached Clifford Odets on lessons in writing fiction. For over a decade he was a concert pianist and some years later taught at USC's Thornton School of Music. He composed over 200 themes for Television and film and also created some great music for the experimental films of Charles and Ray Eames. He also worked with Martin Scorsese more than a few times. And after his score of Animal house, became a regular for scoring comedies such as Ghostbusters, Airplane! , Stripes and The Blues Brothers. Elmer talked about his inspiration for the score to To Kill A Mockingbird and how he wanted to pierce the imagination of the child mind. What would a child play ? Listening for a simple melody to draw upon. Especially his theme for the foreboding character of Boo Radley, played simplistically by a young Robert Duvall. Keeping the score simple was Mr Bernstein's entire approach to creating the impetus for the melodies and later building them into orchestrations that simply lift us above the earth and or break our hearts. The gentleness, the drama, the curiosity, the fun & the maddening injustices that the world provides, so well presented musically.

"With Mockingbird, I'd read the book. Robert Mulligan and I were old friends, before we even shot a frame. " He goes on to explain, "Aaron Copland was my biggest single musical influence. Apart from my teacher, he was the first person to hear anything I wrote. Copland was good friends with my teacher who took me to meet him in his apartment. I was 12. Copland was 30, but not yet famous. My teacher made me play for him, asking if he thought I had any talent. Let's give him some lessons and find out! ", he replied. That's really how my composition career started."

Imagine that you are given a Pulitzer Prize winning novel and told that it is your job to conjure what it sounds like ? Imagine what these words sound like. To pull, out of thin air, sounds, melodies, orchestrations, themes that represent what a classic book might sound like, that's quite a task. Film composers do it daily. Bernstein employs the flute, violin, harp, clarinet, oboe and strings. For a full review in complete detail, check out the work of Craig Lysy whose done a wonderful job of explaining the score in detail and had this to say about the music, "The main lyrical theme is a masterpiece cue that gains Bernstein immortality. It is timeless and in my opinion takes it place in film score lore as one of the most beautiful and memorable themes ever composed." I couldn't agree more. Heres a link : http://moviemusicuk.us/2010/11/06/to-kill-a-mockingbird-elmer-bernstein/

TO KILL A MOCKINGBIRD Soundtrack Track Listing:

Main Title (3:19) / Remember Mama (1:07)/ Atticus Accepts the Case/Roll in the Tire (2:05)

Creepy Caper/Peek-a-Boo (4:09) / Ewell’s Hatred (3:30) / Jem’s Discovery (3:46)

Tree Treasure (4:22) / Lynch Mob (3:03) / Guilty Verdict (3:09) / Ewell Regret It (2:10)

Footsteps in the Dark (2:07) / Assault in the Shadows (2:25) / Boo Who? (2:59)

End Title (3:25) / Running Time: 41 minutes 57 seconds

Music composed and conducted by Elmer Bernstein. Performed by The Royal Scottish National Orchestra. Featured musical soloists; Penny Haydock, John Grant, Edward Paling, Pauline Dowse, John Clark, John Cushing, Stephane Rancourt and Christophe Sauniere. Recorded and mixed by Jonathan Allen. Album produced by Elmer Bernstein and Robert Townson.

Other film Scores by Bernstein recognized by The American Film Institute:

The Age of Innocence (1993) / Far from Heaven (2002) / The Great Escape (1963) / Hawaii (1966) / The Man with the Golden Arm (1955) / Summer and Smoke (1961) / Sweet Smell of Success (1957) / The Ten Commandments (1956) / Walk on the Wild Side (1962)

MARLON BRANDO: The WILD One

Marlon Brando is the quintessential original wild one. He broke down the barriers for acting styles. He conquered Shakespeare, Hollywood and Racism. He is The Godfather. He owned an island. And like all the great ones, he had his demons and had to walk back down the flight of steps that he walked up to begin with and meet all the same people on the way down. Many of them never got to the top. It's cold up there and you are all alone, thats the way it is when you are number one. When you are the highest paid, the most revered, the greatest, the best, the most talented, the one. The top of your game can only last a lifetime for some, decades for others, a few seasons for most, and for many, just a few days, but for most: never. That explains why we honor, respect, revere and enjoy those that have it going on. It also explains why many do the exact opposite and try to strip that all away, they never had it, never will and wouldn't know what the hell to do with it, even if they had.

Marlon Brando told the world to fuck off. He stood up against white property owners in the 1960's, thankfully accepted his first Oscar from Hollywood and years later, sent a Native American to say, basically: No Thanks. He knew when film makers and studios were going to make millions off of him and so, he flipped the script. He's more than a legend: he's real, a man, flesh and blood. Actors will tell you that he was their original inspiration. Everybody sights Brando as an inspiration. He is alive, exciting, scary, unpredictable, sexy, funny and underneath it all, he's vulnerable. Simply and quite honestly: he's a big baby. But what a beautiful baby he is. He is intuitive, curious, mischievous, sly, brooding, delving, stubborn: all this and so much more. Fill in the adjective(s) .

Marlon Brando seemed to personify a time and place in America, a glimpse into the psyche of men in transition. Post War American men came back from the war, toughened, suspicious, some damaged, others with a certain confidence and reinstated rebelliousness. Brando's career follows the trajectory of post war America and parallels that line straight through to Apocalypse Now. From The Nineteen Forties straight through to the Nineteen - Seventies he's in the game. The comebacks are phenomenal and the mistakes and fumbles are equally outstanding. Brando's dancing in Guys & Dolls is simply amazing. To see a man that large, with a boxers physique, move so cat - like with a cool daddy - o style that seems to precede a sort of beatnik smoothness is a joy to behold. A man who admitted few regrets publicly, though whole heartedly exclaims that he wished he had treated James Dean with more respect and attention during his short lifetime. There is no James Dean without Brando. Its safe to say there is no: Paul Newman, Jack Nicholson, Al Pacino, Robert De Niro, Sean Penn, the list goes on and on. We are talking about explosiveness, sex appeal and raw magnetism, mixed with a perfect sense of craft, curiosity and hard work that makes up what we call great and unparalleled acting. And thats just the American list. Some times, we in America thinks its always about us, hate to burst your bubble here, but people around the world are influenced by our greatness and that effects their work too. Brando often made films in Europe and his influence can be seen in actors like the great Toshiro Mifune of Japan. Brando's roles are often an explanation for the very thing that is wrong with human kind and some times he is there to fight against that very thing. The photograph by Phil Stern is a Hollywood Classic and a perfect example of a man at work, like any other man. Well, that's stretching it a bit. Maybe it's more honest to say: A Man at Work, Like No Other Man.

FILM : THE UNBEARABLE LIGHTNESS OF BEING

" In The Kingdom of Kitsch "

In 1988 director Phillip Kaufman brought to the screen a novel by Milan Kundera. Mr Kaufman has always been at least, a decade ahead of the times. His films have constantly created genres, influenced directors and bravely translated literature & historical events to the screen. His adherence and loyalty to source material is unmatched. The Wanderers, The Right Stuff, Henry and June, to name a few, have inspired and set the stage for other films within the genre, consistently raising the bar on truth, quality, reverence to the originator and entertainment well beyond the current trends. Mr. Kaufman brings to life words with a keen sense of detail and a wide world view which brings the viewer into a realm of reality or fantasy that seems to punctuate humanity and specifically the boundaries with which life presents.The Unbearable Lightness of Being might be considered his masterpiece, although, due to his prolific and influential output in other genres, it is safe to say that Kaufman will not be remembered for any one film. He is under rated, in terms of being what they call a house hold name. But to directors in the industry, film students and international film festivals, associations and aficionados: Mr. Kaufman is heroic.

"The Right Stuff opened the door for a slew of astronaut films including Apollo 13. Kaufman practically created the genre. By setting an absolute tone, fabulous casting, flawless research and collaboration with top costumers, photographers and producers, his influence is felt far beyond the time and the place with which his films are released."

The Right Stuff opened the door for a slew of astronaut films including Apollo 13. Kaufman practically created the genre. By setting an absolute tone, fabulous casting, flawless research and collaboration with top costumers, photographers and producers his influence is felt far beyond the time and the place with which his films are released. In The Unbearable Lightness of Being a stellar cast of actors bring to life historical events. Politics, passion, literature and history meld into a contemporary take on a situation which relates to and possibly rivals director David Lean's, Doctor Zhivago. Film history relies on itself to continue certain traditions. Film makers grow up watching films which inspire works of art that later influence the next generation and so on. As Zhivago was based on a great novel about love that just so happens to be placed in a time of political upheaval, so to does the source material for Milan Kundera's novel.

Daniel Day - Lewis spreads his wings in this production which for the first time truly employs his talents to an international audience in a story that juxtaposes his love for life, women and country and the complications that arise between politics, change, revolution and expressing one's self as a writer while making a living at another trade, in this case : brain surgery. One can imagine Mr. Kaufman's desk covered with book options through the years and muttering to his producers cliches' such as, 'It's not rocket science.' or 'It doesn't take a brain Surgeon.' But for Kaufman it definitely is rocket science & as far as this writer is concerned, it is brain surgery, for Kaufman is a genius. I never use the word and yet there it is on the page. There is something about his films that generate a certain amount of passion, interest and bon vivant. His take on life is liberated, his characters are on the edge of history, pushing the envelope into a new time & place. Sam Shepard' s characterization of astronaut Chuck Yeager in the Right Stuff is a perfect example. Characters who break boundaries and later seem to go uncredited or under the radar. Or bringing to life the triangular love relationship between Henry Miller and his lovers. Source material that few directors would know how to approach, let alone, how to raise the funds for and bring to life on the screen.

Unbearable Lightness of Being also visits this type of triangular passion and complicated relationship that make for great drama. Kaufman's take on life, love & history are dramatic, but laced with a pathos, irony and humor that keeps one interested through out. He has a rare viewpoint that illustrates life's issues and relationships in an original & complicated way. With stellar performances by Lena Olin and a fresh faced newcomer on the scene, Juliet Binoche. Supporting cast includes Stellan Skarsgard. This erotic, yet human feature film takes us inside Czechloslvakia during a particularly tumultuous time in their history with an oppressive an invasive Russian takeover during the nineteen sixties. Politics, passion and provocation abound. Kaufman's films almost never come in at the usual commercial time of ninety minutes. He is an artist, most of his features are two hours or more. Unbearable Lightness of Being comes in at an epic 172 minutes, just under three hours. Every scene, every line, every moment is fresh, alive, undeniably truthful, unabashedly human & heartbreakingly real. Originally a part of the Orion Pictures catalogue. Produced by The Saul Zaentz Company. A brave and bold historical film well worth celebrating.

This has been an appreciation of UNBEARABLE LIGHTNESS OF BEING. An ongoing Series of articles marking the Films, Books & Artworks that are worth remembering, re-watching, re-reading and re-celebrating time & time again.

ORSON WELLES

Orson Welles is the real voice of America. He scared the living hell out of us on October 31st 1939 with The Historical radio narration of "WAR of The WORLDS". A somewhat naive public had tuned in to hear the usual musical concert brought to you live by so and so from such and such a location and instead was told that, "The Martians were landing in New Jersey," and a full on invasion of America was taking place. The 'Boy Wonder' as he was called by some, had looks, guts, a voracious appetite for fame and a deep male voice that held passion, wisdom, roots, defiance and bravado. Orson gathered a group of actors and called them The Mercury Players, including a young Agnes Moorehead, Vincent Price, Joseph Cotton, Everett Sloane, Ray Collins, Martin Gabel, Anne Baxter, Judy Holliday, Geraldine Fitzgerald and other future stars of sound and screen. Orson Welles wrote, acted, directed, narrated and produced. He took classic literature and related it to current issues including Shakespeare's Julius Caesar with a twist toward the growing fascism in Europe of the late 1930s. He went on to create radio adaptions of Bram Stoker's Dracula, Huckleberry Finn, Our Town, The Heart of Darkness, Five Kings, and Native Son. The Legend of Welles has created many a great film and literary adaption in its own right. "RKO 281" starring Liev Schreiber as Welles is a good adaption of events leading up to his entry into Hollywood and filmmaking. "The Cradle will Rock" by Tim Robbins is another fine and thorough film which brings to life The Theater chapter of Welles experience in New York City with the WPA and censorship in America. Orson Welles' All Black MacBeth commonly known as VooDoo Macbeth, set in Haiti, was an out and out success, every line in Shakespeare's play was kept intact. The production, "Exceeded its original play dates in New York and had a popular tour of The country".

It also began an animosity surrounding Orson Welles that continued to follow his career leading up to his masterpiece which chronicled the life and times of a once powerful media mogul and newspaper magnate, in all its highs and lows: Citizen Kane. Both Peter Bogdanovich and Henry Jaglom spent a good amount of time with Orson late in his life and each have interesting stories to tell, in both book and film. "The Cats Meow" a film by Bogdanovich tells a dark chapter related to media mogul William Randolph Hearst of Citizen Kane fame and Jaglom's book, "My lunches with Orson" transcribe taped conversations with the late great master filmmaker and magician. Some twenty years after Citizen Kane created a revolution in film, censorship and battles between the artists and the media in Hollywood, Bogdanovich had organized a retrospect of works at The Museum of Modern Art in New York and years later posthumously published, "This is Orson Welles" in 1985. Controversy courted Welles at all levels, especially with his collaborators and creating partners, including The Bogdanovich book which, was lost in storage, later found, put on hold by Welles himself, having been offered funds for his own life story and later published with full approval. Some called it a failed career, others know damn well that Welles was out and out blackballed from the industry and ten years later, hundreds of left leaning artists, writers and filmmakers were witch hunted by not just, The Industry, but by their own government. Orson Welles was a real voice for American Radio and being a real man in America can be a dangerous game. Citizen Kane is commonly called One of, if not, THE, Greatest Modern American Film of all time. Welles took the newspaper techniques utilized by Media Moguls of the time and flipped them right back in their faces, taking tawdry facts and innuendo and skewering the all powerful modern day millionaires of the day. It was a beautiful and defiant move that scared the pants off of the powerful and at the same time, empowered the individual artist. Unfortunately, the price Orson paid to make that statement ended his own career, created a legend, set the tone for decades to come and even taught a weary government what tools could be used to dupe the public into submission, fear and war. To this day, film, radio & literature as well as newspapers are all fooling society daily.

QUIZ SHOW at TWENTY

Robert Redford is a Master Film Director of The American Landscape. His style is so deeply rooted in Realism that even when the story hinges on magical realism, such as, "The Legend of Bagger Vance," we as the audience are taken in, wholeheartedly. "A River Runs Through It" took Brad Pitt and insured that his career would not be one of how a handsome man can become successful, Redford pushed the actor to find a personality that would surpass looks and it worked. "Quiz Show" takes on the almighty Power of Television and puts it on Trial. Today, we take a look at "QUIZ SHOW" on The 20th Anniversary.

This is a large film, with a brilliant cast, a flawless tone and leading actors that include John Turturro as the whistle-blowing contestant Herb Stempel and Ralph Fiennes as Charlie Van Doren, a wealthy second generation Columbia University teacher who gets sucked into cheating himself, the public and his families reputation simply by allowing the network's television producers of The Quiz Show entitled, "21" to, "… give him the answers." Which are said to be, "… sealed in a bank vault." Enter investigating lawyer and Harvard graduate at the top of his class, Richard Goodwin, played here brilliantly by Rob Morrow. A former clerk for Supreme Court Justice Frankfurter, who is on the legislative subcommittee for oversight. The film begins with undertones of the times, "Mack The Knife" by Bobby Daren is the films musical opener and on the radio, we are told that, "The Russians have launched Sputnik and all is not well in America." Redford knows the American historical backdrop well and informs his dramas opener with tones suggesting preceding events between 1950 and 1959, the year this film takes place. Alluding to the dreaded blacklist, which somehow connected the Russian communist fear of an invasion with Jewish writers and leftist entertainers who were demonized by Joe McCarthy. More than once, Goodwin tells his fellow associates and his wife, "This is not McCarthy-ism here." Goodwin is a careful prosecutor, by some standards, too careful.

"He is ordered to give the wrong answer to a question that everyone in America knows and is given the number of a psychiatrist free of charge, welcome to the network."

Attempting to explain that he is simply going after the fact that the answers were being given to contestants and the public was duped into tuning in night after night while the sponsors of these shows reaped in millions. The film marches in step between four worlds, Herb Stempel's blue collar neighborhood in Queens, Charlie Van Doren's upper crust family in upstate New York, Richard Goodwin's moderate post graduate career life and the big and awe inspiring world of major network television with all its new bells, whistles and "APPLAUSE" signs. Early on, an ad executive, played by Martin Scorsese, warns the television producers that Herb Stempel, who has been the winning contestant for several weeks is, 'not working'. The producers say that Stempel has that, "Everyman quality…" and that he represents the idea that anyone from New York can make it in America, The Ad Exec exclaims, "Queens is not New York …" and soon Herb Stempel is told he must take a dive.

Dan Enright, the shows producer, delivers the bad news over steak and wine. When Stempel begs to stay on the show, he is reminded that, "It's an arrangement, It's always been an arrangement." He is ordered to give the wrong answer to a question that everyone in America knows and is given the number of a psychiatrist free of charge, welcome to the network. The Stempel character breaks and eventually demands some restitution from the television producers who quickly move into cover up mode by launching Charlie Van Doren into the stratosphere of T.V. fame and fortune, he eventually makes upwards of 120,000 thousand dollars, surpassing even his famous father and uncles riches awarded by simply great writing, Pulitzer prizes and the like. By the time Charlie Van Doren graces the cover of Time magazine, Herb Stempel, who is schlumping around like a schmuck without a life, goes to the district attorney and an investigation ensues. The judge on the case, who regularly plays golf with the president of the network, conceals Stempel's statement to "protect reputations from an unstable whistleblower." The concealment is the first of any such case in New York in the past hundred years, attracting the likes of Richard Goodwin & things begin to heat up from this point on. In motion picture history, there have been other television expose' style films preceding and since "Quiz Show." Paddy Chayefsky famously wrote "NETWORK," which was a dark and comedic opera like parody of television with brilliant performances by William Holden as a burnt out television executive and Fay Dunaway as an upwardly mobile television producer who will do anything for ratings. "Network" brought us the now famous line, "I'm mad as hell and I'm not going to take it anymore!" with a bust out performance by Peter Finch as the broadcaster gone made who is deified into a modern day mad man, hero & eventually martyred on the air, all in the name of good ratings.

There are no tricky camera angles,

nothing brings attention to the story

accept simply great performances …

Since the making of QUIZ SHOW, George Clooney directed the somber, yet honest, story of Edward R. Murrow's fight with the networks to tell certain truths that were better left untold. This is also a brilliant film told in black and white with performances by a cast of incredible actors all working in unison to bring this chapter of network television to the fore. Clooney, who was a child of TV knows very well how to explain the tone of advertiser vs truth and he delivers well. Quiz Show sits somewhere between these two versions, both cinematically and sequentially. Redford's realist style and tone are not colored in any expressionistic way whatsoever, this is not a parody like NETWORK, nor is it a black and white report, like Clooney's, "Good Night, And Good Luck". Redford plays it straight and allows us to simply experience the events in real time, from all angles of a four cornered world. The film rolls out like a giant 1959 American made automobile, sexy, classy, bold, he's working with an ample budget, an outstanding cast and crew and top of the line costume, camera and production team. The film is timeless, its arc is perfect, its idiom unique.There are no tricky camera angles, nothing brings attention to the story accept simply great performances, a brilliant and balanced screenplay, as usual, Redford always works with the most perfect script that encompasses the act one - two and three - format that then goes one step further and adds both a preamble and a post event wrap up that often leaves the audience informed, entertained and enthralled. With Quiz Show, he hits the trifecta: This is pure Cinema.

As Richard Goodwin begins to investigate The 21 Show, he is given personal contact information about Van Doren and the two strike up an unlikely friendship. Goodwin, who is Jewish, a Harvard Grad at the top of his class, a brilliant lawyer and a keen mind himself, is slow to suspect Charles Van Doren of any wrong doing. The two lunch at high brow restaurants and run into Charlie's father, who is a famous literary figure among a circle of writers such as James Thurber and Edmund Wilson. It is not until Goodwin's wife pushes him to dig deeper that the drama really cranks up and Goodwin does indeed uncover the scandal. All along the way, previous contestants deny any commiseration, they all know too well the power of the networks and just when it seems hopeless, a Greenwich Village artist and former contestant submits an unopened, self - addressed - stamped - envelope with the questions of the show mailed to himself, several days prior to the actual live television airing. Goodwin now has evidence and gets his teeth into the television producers pant leg. "Your a very disruptive young man," he is told by Dan Enright, the show's hapless producer and network stooly who eventually flees to Mexico when the shit really hits the fan. Portrayed here by David Paymer. Meanwhile, Richard Goodwin and Charlie Van Doren play poker, go sailing and celebrate Van Doren's father's birthday with background commentary from family members exclaiming that, "Charlie's famous, like Elvis Presley." The senior Van Doren has never seen his son Charlie's appearance on television and so, for his birthday, he receives a TV set from Charlie.

At one point, Goodwin tells Charlie,

"I know your lying." Charlie retorts

with a simple response, "Bluffing ...

The word is, 'Bluffing'."

By the time that Richard Goodwin gets to actually speak to television executives, he is given a list of Herb Stempel's psychiatric bill and a recording made while Stempel was heatedly unravelling. When Goodwin speaks to Stempel again, he admits that he was given the answers and goads Goodwin on to go after Van Doren, exclaiming, "Just 'cause you went to Harvard, you think you have a stake in the system ?" The TV Exec's convince Charlie Van Doren that the investigation will not reach him and that Stempel is just a crackpot. But with Goodwin on the case, the other contestants self addressed letter and an impending investigation by the subcommittee, Charlie begins to buckle. During a poker game with a bunch of wealthy pals of Charlie, Goodwin begins to 'QUIZ' Charlie, who happens to be working on a book about, of all people, 'Honest Abe Lincoln'. At one point, Goodwin tells Charlie, "I know your lying." Charlie retorts with a simple response, "Bluffing, the word is, 'Bluffing'." This particular exchange is what makes Redford's world so damn compelling, he is a master of the slow but steady storytelling that unravels on the screen as a great book unravels on the page. Bob Redford is probably one of the most well respected and truthful directors when adapting books of the popular or well written variety in the past several decades. He simply works with great writers and those able to adapt a screenplay into something incredibly special from very thick & exhaustive source material. Meanwhile, the television executives offer Charles Van Doren fifty-thousand dollars and a morning show to teach children about, 'literature and the importance of reading'. He accepts the offer and is sucked even further into the networks spider web like prizes.

By the time Goodwin nails the television producers to the floor, they actually offer him his own show, he declines and instead suggests that they implicate the network. The producer admits that if he said a single word that, "They would never let me through the door again." Goodwin pauses, looks at the man and simply states, with a Bogart - like - cool: "I have a feeling you're not walking through that door anyway." By this time, the film and it's impending investigation roll forward with a non stop pace that is both rewarding and gratifying. Not surprisingly, the networks are untouched and the producers, we are told in the final scene, returned with popular quiz shows some years later. In a final tit for tat dialogue exchange between Goodwin and the head advertising executive played here by Martin Scorsese, the ad exec exclaims, "It isn't about what I know, it's about what you know… The Public has a very short memory, but corporations, they never forget… Look young man, you have a very promising future, watch yourself out there." About the time that the elder Van Doren, Charlie's father exclaims that, "All this talk about cheating on a quiz show is like plagiarizing a comic book," Charlie comes clean, "Dad, they gave me the answers." His father's reaction is total surprise, "They gave you the answers ? Oh my god Charlie, How are you going to tell the committee ?" Then Charlie asks dad to back him up.

In a final scene, in front of the subcommittee and a host of swarming reporters, Charlie Van Doren finally admits to wrong doing in a speech that starts, "Everything came too easy…" which is an echoing line from one of Robert Redford's earliest successes as an actor, his portrayal of Hubbel in, "The Way We Were." Redford's character writes a story which begins with the opening line, "Everything had come too easy…" and so we come full circle. The entire committee begins to congratulate Charles Van Doren for coming clean in an overly acceptable and non critical manner, until finally, a working class representative steps up and exclaims, "Although, I think it is commendable … I am from another part of New York … and I don't think by simply telling the truth you should be so easily forgiven." The audience begins to applaud, the camera view is now from high above the proceedings and a gavel pounds for order. We hear Richard Goodwin's voiceover, "I thought we were going to get television, the truth is, television is going to get us." Which is true in more ways than one as even Robert Redford's Sundance Channel now has just as many commercials between independent films, as the big three network broadcasters. One thing for sure, nobody would ever have expected Robert Redford the actor to ever even dream about, let alone realize his ability to direct films at the level with which he has delivered time and time again. Robert Redford is one of America's best and brightest, we love his work, respect his artistic output and honor his contribution to the art of fine filmmaking.

JAMES DEAN : The ACTOR

James Dean. He was not simply an actor in search of a project, he was a human in search of a world, a son in search of a father, an orphan in search of a mother, a new kid in search of a friend, a worker in search of wealth, a comedian in search of a tragedy, he was an outsider in search of the inside and when he got inside, he did what anybody with integrity and curiosity does, he searched for the exit and found it. But before that and most of all, James Byron Dean was an American in search of America. Maybe that is why we empathize with him so deeply and even then, cinema fans from around the world loved, admired and even worshipped him. James Dean was more than an American. He was a symbol of truth in the eye of fakery, anger in the face of complacency, passion in the face of blandness. James Dean was ahead of his times and when the world caught up, he was already gone. He was beautiful, angry, funny, reflective, moody, original, sexy, expressive, quiet: he was small and he was large, figure that one out. He had studied the best and took from the rest, adding his own style of acting. Dean had the bravado of Marlon Brando on his right and the quietude and gentleness of Montgomery Clift on his left and he knew it. He had the urgency of a person fully aware of the ticking timepiece on the wall of life. A voracious appetite for learning everything that was worthy of learning: Acting, Dance, Photography, Music, Racing, Basketball, Philosophy and Filmmaking to name a few. Who knows what he would have done with his power had he stuck around longer than the twenty - four years that he walked the earth ?

"James Dean was more than an American. He was a symbol of truth in the eye of fakery, anger in the face of complacency, passion in the face of blandness. James Dean was ahead of his times and when the world caught up, he was already gone."

Because Dean was a method actor and delved deep into his roles, it is safe to say he may have become an outstanding businessman, in the same way that actors such as Mark Wahlberg has become or possibly an award winning producer in the way that Brad Pitt has or possibly an activist in the same way that Martin Sheen and Sean Penn have done. James Dean was extremely progressive in his own life, but also served the characters he played first and foremost to the utmost degree. His friends were from all walks of life. That may sound easy in these modern times, but in the nineteen fifties, that was rare. James Dean was, as they say, born cool. But actually, the truth is, he acquired his coolness from a compendium of individuals: poets, writers, actors, beatniks, hipsters, underdogs and over achievers, he was all of the above. Those he worked with found him to be mesmerizing, defiant, romantic and honest. Younger actors such as Dennis Hopper wanted to know his secrets. Older actors such as Rock Hudson found him to be more focused than any actor ever. Sal Mineo stated that Dean, "Never took any nonsense from anyone in a higher position, he would stand up to them no matter what the situation. It is no wonder we love him so, wouldn't we all want to do such a thing ? Demand that our parents be honest with themselves, as he does in Rebel without a Cause ? Exclaim to our wealthy employer that we are going to be, "Richer than all the rest of you …" as he does in Giant or to seek out the family secrets and recover our fathers lost investment as he does in East of Eden ? Dean is confused and he is searching for clarity, he is angry, but he is looking for peace, his is young, yet he yearns for experience, he is hurt, though he blames no one. James Dean personified characters written by John Steinbeck, Edna Thurber and Stewart Stern, top of the line writers each with a streak, a sparkle, a deep understanding of the human condition and a flare for drama and reality. Dean dabbled in television and theater, but discovered that film was the big medium and he found his way to the screen with a steadfast and meteoric rise that was not unlike a freshman climbing to the graduates position by avoiding half the steps to the top and eventually jumping entirely into the abyss when he got there. The list of musicians, actors, writers & performers that owe a debt to James Dean is so vast that it would be meaningless to even begin to categorize. Every single scene in every single film is authentic. To this day, he is undeniable real, undated, fresh, as if the scene was shot yesterday. Dean's performances are so authentic and urgent that even the periods with which the films are set, have no real consequences to the viewer, the fact is, he was the perfect actor for the medium and for that, we are eternally inspired, enthralled and entertained to a degree that is almost impossible to describe. The James Dean legacy is beyond compare. After all is said and done, it is not about Dean's death, but his life, and so on the eve of the sixtieth anniversary of his passing, we celebrate the life of James Dean.

AKIRA KUROSAWA

Akira Kurosawa is a great contribution to The Asian World and indeed he is a National Treasure to Japan. To Us in The West, he is a teacher, a scholar, a storyteller, a raconteur, a moralist with a much wider view point than the average. Ultimately Kurosawa is a Film maker of the rarest variety, lastly, he is an Artist. Today, we honor Mr Akira Kurosawa.

Kurosawa's Adaption of several short stories by Ryunosuke Akutagawa in 1950 for the film entitled, "Rashomon," received The Grand Prix at The Venice Film Festival and led to American distribution through RKO. The film went on to win both the National Board of Review prize and Academy recognition for the Best Foreign Film in Hollywood. At the time, Art Films were usually recognized more from countries such as France, Sweden or England. The fact that a Japanese film had make an international sensation and actually made money in large metropolitan cites such as New York was historical. Film reviews in the New York Times, the Saturday Review and the Christian Science Monitor were complimentary. Reviews in The New Yorker and the Times London were perplexing, as we look back at those negative reviews, some sixty-five years later, they seem tainted by a prejudice that has haunted the Asian culture since time immemorial. You may notice that this publication has no time, need or desire to TELL the reader what is good or bad. If it is in the publication, you may assume it is good, if it is not in the publication, you may assume whatever you like. Rashomon went on to great heights of conjecture and recognition and to this day is compared to great films that have transcended both time and trends. It could be compared to Orson Welles' great Classic, "Citizen Kane," in that regard. The success of international recognition brings scrutiny and even envy within the inner circles of a great artist and without a doubt, the surprising popularity of Rashomon, did just that. Kurosawa follows it up with an early literature favorite from Dostoevsky. He eventually creates the masterpiece, "Seven Samurai," which inspires another popular filmmaker to adapt it into, "The Magnificent Seven." Later, more such adaptations of Kurosawa films, both loose and exacting will create films like George Lucas' extremely popular film series, "Star Wars."

Martin Scorsese, George Lucas, Francis Ford Coppola, Steven Spielberg and Paul Schrader are just a few of the internationally known American filmmakers who owe a great debt to the legacy of the man they call, Akira Kurosawa. One of the important aspects of Kurosawa and his influence on cinema is both his pre-war and post — war activity in filmmaking. He is assisting and in training throughout the period before World War Two. Kurosawa becomes a director in 1943, though his responsibilities as an assistant in previous productions had prepared him entirely. All throughout the War, Akira Kurosawa makes films that are influenced by what he sees and feels, but also by many of his Western influences such as writers like Georges Simenon. Kurosawa is blatantly honest about his many influences which include: D. W. Griffith, Ed McBain, Dostoevsky, Shakespeare and the frailty of mankind itself. Years after the war, Kurosawa openly discusses his acknowledgment of, "War Time filmmaking and National Code policies that both hindered and influenced his ability to make the films he had intended to create. A must read book for any persons wishing to understand the films of Akira Kurosawa is the comprehensive manual, "The Films of Akira Kurosawa," by author Donald Ritchie, "Something of An Auto Biography," by Kurosawa himself and of course the many books written about each film, the scripts and stories they are based on, and to view the films themselves. I also believe that comparative film viewings are a great way to understand the relationships that we as artists, filmmakers and storytellers have with one another. If you watch, "The Hidden Fortress," as a double feature with, "Star Wars," or "The Seven Samurai," with "The Magnificent Seven," you may learn something of the interrelated quality which the arts provide this world. The unification of the human experience itself, on an international level, depends highly on the arts.

The films of Akira Kurosawa play a key role in the international discussion and dissertation on our relations as people of the world. Another keen and important aspect to Akira Kurosawa's contribution to film itself is his deep knowledge and curiosity regarding philosophy, literature and the visual arts. As Kurosawa's popularity rises, he is more and more, able to make the type of film that he originally intended to create. In "High and Low," a detective story based on a book by Ed McBane, Kurosawa's positioning of characters in relation to their body language is so artistically defined and designed that it raises filmmaking to the level of high art. The single frame pictures in this production, especially the interior shots with four or more characters are simply masterpiece art paintings, fine art prints or highly developed photographs by a complete and utter artist of the highest order. Further, the images relate directly to story, emotion, narrative interpretation and culminate into what a film must be to succeed: Entertainment as well as Education. Kurosawa goes onto create a series of films that have created a legacy of outstanding cinema that have aligned themselves with his own country, with Asian history and traditions as well as the concerns of humanity as a whole. An artist will create works that reflect their personal interests, views and concerns as well as experience. At the same time, there are collective experiences that relate to one's nation, one's place in the world and one's very existence. The Akira Kurosawa catalogue is steeped in each afore mentioned example. His later works, such as, "Ran," and "Dreams," are a testament to humanity, history and proof that, Akira Kurosawa, from the first film to the last, set a great example and raised the bar of excellence as well as imagination. I do not pretend to be a specialist in Asian studies. I do not assume I know anything more than you do about Oriental culture. I do not profess to have the answers to the deeper questions that great art provides. I do know that the work of Akira Kurosawa has educated my knowledge, his films have informed my curiosity, his ideas have answered many of the deeper philosophical questions. And so, today, we honor the great Asian Artist Akira Kurosawa.

- Joshua A. TRILIEGI

BUREAU FILM : THE BEAUTIFUL COUNTRY

Directed by Hans Petter Molland Starring Damien Nguyen Written by Sabina Murray

Reviewed by Joshua A. TRILIEGI / Reprinted From The BUREAU Of ARTS AND CULTURE Archives

The Beautiful Country is a heartbreaking journey which helps any American born stateside to understand fully the difficulty in being born elsewhere, but having ones heart set on America and the dream it holds for so many. Half American, half Vietnamese, our lead character leaves his native country to find his American born father by birth. Hated by the locals, un-accepted by his mother' s family and friends. He takes a leap into the abyss of the unknown world. From small town to boat, from concentration camp to ship and on into a story of struggle, pain, not belonging, outsider status and the search for the father ultimately becomes the search for self. With little brother in tow and a fist full of foreign bills, he leads us into a luckless trip full of sweet & sour sorrow. Befriending other American dreamers along the way: a dissident, an attractive young lady, a sick old man, fellow refugees who have sold themselves to get on over. None of these friendships make the trip any easier. Prostitution, resistance, political oppression & the search for that ever elusive American dream embroil into a game of dangerous proportions with death at every turn. Humans trapped on a chess board of heroic sacrifice and humble beginnings. A beautiful and touching film with excellent writing and directing, very well produced and career making performances by newcomers as well as stalwart pros. Tim Roth is the captain of the ship and the incomparable Nick Nolte is the father, an ex GI living on a farm in Texas. Survival, death and opportunity all mix into a volatile cocktail of moral values versus the market place of human trafficking. With allusions to death camps of both post and pre war eras, and the promise that, "You' ll all get rich in America," our characters are trapped in a carrot dangling process of hunger for both food and a better life elsewhere: A life in America.

"A heartbreaking journey which helps any American born stateside to understand fully the difficulty in being born elsewhere, but having ones heart set on America and the dream it holds for so many."

Another brave production by Ed Pressman, Terence Malick and San Nazarian, who put up the funds. A return to the kind of films that Americans were known to produce in the heyday of classic 1970s and again in the 1990s period of real film making. All too often, cartoons, machines and digital effects have taken center stage over story, acting and simply great film making. The Beautiful Country is a return to the kind of film making that made the entire world look to Hollywood with love, respect & honor. A sorrowful film with heartbreaking proportions. A sort of love letter to the after effects of war, peace, exodus and the price paid to not only make it in America, but the price paid to actually get here. Fellow inmates play a game of who can mention the most American icons in a tandem roulette — like fashion : Clint Eastwood, Mickey Mouse, NFL, etc ... The basic subjects that we as Americans take for granted, others do not. America is indeed ' The Beautiful Country ,' but a whole lotta ugly can sure be dished out by those wishing to dangle carrots, abuse their power & use immigrants as tools, objects and or devices for their own personal gain. With nothing more than a photograph, an address and a name, our hero, heart in hand, finds a way to survive the journey, help others along the way and somehow retain integrity & self respect in a world full of deceit, dishonesty and destitute situations . He loses family, gains friends and ultimately finds his father. In a particularly heroic effort he challenges the ships bullying drug dealer who leads the games which pit passenger against passenger. Putting a stop to the games by ultimately out quoting him with a list of American icons that include : The Miami Dolphins, George Washington, Huntington Beach, Minnesota and the 10 Freeway, A touching scene which employs humor, pathos and sadness with a punch to the gut for anyone with a heart. Finally after several deaths, detours and degradations, our hero does indeed make it over. Only to find out that any Vietnamese with an American father is allowed to fly into America free of charge. All in all our hero retains that sweet human trait we know as 'Grace'. The final chapter between he and his father, is elliptical, touching and open.

DO THE RIGHT THING

Twenty - Five Year Anniversary

by Joshua Triliegi April 2014 Edition of Bureau of Arts and Culture Magazine

Motion pictures that are created at the end of a decade tend to encapsulate, envelope and regurgitate that time and place. Sometimes, they throw the entire experience back at us, either in celebration of it, or, as is often the case, rebelling entirely against the values of that time and of that place. These films, for some reason or another are important, they are the ' punctuation mark ' at the end of a stylistic sentence. Sometimes a simple period, other times a question mark & rather effectively, every now and then, the ever defiant: exclamation point. Looking at the decades in a linear fashion allows the viewer to put in perspective the decisions being made by the film maker.In 1939, films like Gone with The Wind, The Wizard of OZ and The Hunchback of Notre Dame expressed a certain something of the decade that was. In 1949, it was, All The Kings Men, The Third Man & Twelve O'Clock High. In 1959, North by Northwest, Imitation of Life and Some Like It Hot. In 1969, Midnight Cowboy, Easy Rider, Butch Cassidy and The Sundance Kid. 1979 gave us: Apocalypse Now, Being There and Norma Rae. In 1989, we were given films such as Sex, Lies and Videotape, Batman and My Left Foot.

The film we are discussing is Spike Lee's, opus feature, Do The Right Thing. An exclamation point film that entirely coughs up the indulgent artifice that we now know as The Nineteen Eighties. A completely retro progressive time and place, a decade for the so-called white man. Conservative values, commercial qualities and a return to the 1950's America, which, deep down inside, was a bigstep backwards from the cultural and ethnic advances made in the 1960' s and 1970' s, especially for a young African American such as Mr. Spike Lee. An out-spoken Brooklynite through and through. The son of a Jazz purist, raised in the 1960's and 1970 's in New York City. The center of defiant cultural celebration and often upheaval. "I was raised in a household where we were all encouraged by my parents to speak your mind.", the film maker admits and indeed in Do The Right Thing that is exactly what most, if not every, character does. A 'speaking of the minds' often leads to some form of friction, and with the melting pot experience, the mix of origins, ethnicities, values and the long hot summer in the city, friction leads to fire and fire leads to ashes, with ashes, there is closure and then a rebirth.

Spike Lee's Do The Right Thing is indeed an American Landmark Film. I recall viewing the film on opening weekend with a rather light skinned audience on Wilshire boulevard in West LA, by the end, there was confusion. By the time the ever famous trashcan scene ensued, even I was a bit embroiled in a recognization [ new word ] of values. Did Mookie, the pizza delivering protagonist quote unquote : Do The Right Thing ? We had to ask ourselves, what happened here ? A man was killed, there was an injustice, no one in authority seemed to care, there was a 'cover up' of the facts. There was a history of this type of act and someone, somewhere, somehow needed to make a statement, Mookie, [ played here by Spike Lee] made the statement. Even to this day, it can be debated, wether Sal' s Pizzeria should have bit the dust. Which is exactly what makes this film important, All too often, films answer the questions that we as humans need to ponder. Original, author style films don't answer questions, they ask questions, leaving the viewer to delve, wonder and eventually ask and maybe, even answer, for themselves, what the right thing to do actually is. For a film to stand the test of time, there are several criterion. Does the film hold up to audiences today? Does the film still speak to any social truth or endearing value ? Does the film encapsulate a time and a place as a historical document which is worth preserving ? Yes. Yes. Yes. Do The Right Thing is not a 'perfect ' film, in terms of balance or so-called structure, or narration, but it is a very original, truthful and heartfelt film with a certain 'energy' that is difficult to describe here.

The film has a visual style not unlike, West Side Story, with rich colors, costumes, ensemble cast choruses & of course the clashing of cultures on the streets of New York City. African, Italian, Puerto Rican, Asian and indeed White or Anglo Americans vying for their own space to live, to walk, to inhabit in equal parts. Add to that rules, mob mindset and one long hot summer and you have a great drama with many touches of humor, slice of life moments and heroic situations: Such as Da Mayor saving the life of a young boy recklessly crossing the street. Spike Lee has Woody Allen on his left: humor, love of women, family story telling & a 'do it your own way' style. On his right, he has Martin Scorsese : bold visual style, muscular camera movements, music appreciation & a 'this is the way it really is' style. But no one can say he is overly influenced by any director, writer or film maker. Nor is he the 'first African American director' to have success. Spike often sites Charles Burnett and Gordon Parks, but like any great director or artist, Spike Lee has an appreciation for film history . In that way, he is like Mr. Scorsese, a sort of encyclopedic like mind for his craft, it's rich history and why we love, make and celebrate the art of film making. The question rises here as to wether Spike Lee would have received the kind of accolades that he did not receive [ at Canne Fim Festival ] for instance, had he not played the character of Mookie, the person who is ultimately responsible for the demise of Sal' s Pizzeria ? The connection audience members make on a visceral level can often effect the general judgement on a larger level. Mr. Lee is a writer and a director playing a fictional character in a movie that he has written and directed.

Something that Spike has in common with Woody Allen, another influence on Lee, specifically his first film, She's Gotta Have It. Film makers take what they know, film history, life experience, social concerns, story telling and when they step up to the hoop, walk into the ring, take the bat, the utilize the skills from previous players / directors and give it their all. So what if Spike Lee is outspoken ? Since when has that become such a big deal, to speak your mind ? Is that not what we are all about here in America ? Did we not, originally enter onto this beautiful continent, to have a few more freedoms? And did we recently forget that, also brought on ships involuntarily, were a group of people who had no say in many of the goings on here ? That after a few hundred years we finally have an African American President ? And at this years Oscar ceremony Best Picture went to Twelve years a Slave directed by Steve McQueen, an African-English director. Sometimes it takes an outsider to tell the inside truth. So Spike Lee is outspoken, good for him, what's your problem ? Cat got your tongue ? People often tell me that I am too outspoken. Well, I guess I am in good company then. My people went through a form of slavery, years of oppression, even an attempt at extinction. Spike Lee's films are inspiring, energetic, funny, outrageous, risky, engaging, sexy, socially relevant, even dangerous: that's the stuff of good story telling.

If Spike Lee had been Latin, Asian, or Swedish & still made the films he had made, this appreciation of Do The Right Thing would still remain the same, with the exception of the previous paragraph. I did not graduate from film school, though I am a film maker, screenplay writer & film critic or historian, if you will. One of my teachers, informally speaking, is Spike Lee. His books & diaries published after making, She's Gotta Have It, his first feature, were instrumental in helping me to overcome any obstacles that ever stood in my way. For many of us, his career is our career, someone from the so-called neighborhood made it happen, one of us got to tell our stories. Do The Right Thing is turning Twenty-Five this year and it is time for a new generation to discover this film and ask themselves those important questions. The film also has a cast of actors that will go on to have careers that include: Samuel L. Jackson, Rosie Perez, John Turturro, Martin Lawrence, Roger Guenveur Smith and Giancarlo Esposito. Many already had stalwart creds such as Ruby Dee, Ossie Davis, John Savage and Danny Aiello . Another way to test a film for longevity factor is: Do the characters still exist in your minds eye ? Where are they today, when you think of them ? Mookie, Da Mayor, Senior Love Daddy, Buggin Out, Smiley, Tina, Sal, Vito, Mother Sister, Jade, Ahmad, Ella, Sonny and much more importantly, Radio Raheem, where would Radio Raheem be today ? That is the real question. Do The Right Thing doesn't claim to answer that question. You have to answer it. Like Da Mayor tells Mookie early in the film, "… Always Do The Right Thing.", Mookie answers back, "Thats It, I got it, I'm Gone."

TRIUMPH OF THE WALL

a Documentary by Bill Stone First Run Features

A documentary which chronicles the building of a wall ? Yes. Funny. Inspiring. Thought provoking. A well made film which looks at the dogged decisions that humans make to accomplish the un accomplishable. Expecting to complete the making of a thousand foot long wall and finding that it will take more than a few years surprises, frustrates and ultimately inspires both the subject(s) as well as the filmmaker of this interesting & funny film. Chris Overing decides on a whim that he wants to make a lasting work of art by hand: A Stone Wall. He finds that life, art, craft and obstacles that get in our path are just a few of the problems along the way. Bill Stone ( All puns intended ) follows Chris on the journey, camera in hand, a sort of reluctant documentarian searching for the perfect subject and finding life's larger questions looming behind every crack & crevice in the project as well as in his subjects bravado attitude.

The camerawork is brilliant. The voiceover narration is both funny and poignant. An ongoing philosophical ramble which is entertaining and ultimately inspiring. Artists often get themselves into some terrible situations when they decide to make a work of art. If no one was watching, maybe they would not continue, but with a built in audience, there is a need to follow through. Chris and Bill bond through this strange experience, like brothers or partners and through it all the audience is taken on a journey. Eventually, the filmmaker is given a grant for the film and his subject is joined by a rock & roll duo, moonlighting as helpers.

When the filmmaker tires of Chris' antics, he travel overseas and we learn about the craft of building stone walls from a few elder craftsmen in Europe. These older men are magical in their awe for nature and building stone walls by hand. Their patience rubs off on the filmmaker, the film and the original subject and goal. An unexpectedly interesting documentary due to it's craftsmanship, commentary and painstakingly beautiful camerawork and editing. Highly recommended for those needing to complete any long term project or inspire artists and or art students to commit themselves to the fine craft of creating art for a living. One thinks of the long arduous art processes centuries before filmmaking: The Pyramids, Easter Island, The Sistine Chapel, what we might have seen and heard had there been someone such as Bill Stone nearby. We are highly suggesting this film. Brought to you by the brave folks at First Run Features. Look for more reviews as we focus on their catalogue of Documentaries throughout the season. www.FirstRunFeatures.com

BUREAU OF ARTS AND CULTURE LOS ANGELES : FILM

THE BUREAU ICON ESSAY : AKIRA KUROSAWA

Akira Kurosawa is a great contribution to The Asian World and indeed he is a National Treasure to Japan. To Us in The West, he is a teacher, a scholar, a storyteller, a raconteur, a moralist with a much wider view point than the average. Ultimately Kurosawa is a Filmmaker of the rarest variety, lastly, he is an Artist. Today, We Honor Akira Kurosawa.

Akira Kurosawa is the youngest child of a large family, third generation from the Edokko. He is exposed to film early on by an older brother and eventually finds his way to filmmaking by assisting and script writing. His meticulous nature and perfectionist qualities concerning accuracy are exemplary. Eventually his adaptions of early literature and his knowledge of Art expand the ideas of a what a film actually is. Kurosawa garners attention with innovative techniques, pushes the limits on former traditional ideas of right and wrong and after ten films that were mostly seen in Japan, he has a creative breakthrough. Kurosawa's Adaption of several short stories by Ryunosuke Akutagawa in 1950 for the film entitled, "Rashomon," received The Grand Prix at The Venice Film Festival and led to American distribution through RKO. the film went on to win both the National Board of Review prize and Academy recognition for the Best Foreign Film in Hollywood. At the time, Art Films were usually recognized more from countries such as France, Sweden or England. The fact that a Japanese film had make an international sensation and actually made money in large metropolitan cites such as New York was historical. Film reviews in the New York Times, the Saturday Review and the Christian Science Monitor were complimentary. Reviews in The New Yorker and the Times London were perplexing, as we look back at these negative reviews, some sixty-five years later, they seem tainted by a prejudice that has haunted the Asian culture since time immemorial. You may notice that this publication has no time, need or desire to TELL the reader what is good or bad. If it is in the publication, you may assume it is good, if it is not in the publication, you may assume whatever you like. Rashomon went on to great heights of conjecture and recognition and to this day is compared to great films that have transcended both time and trends. "Rashomon" could be compared to Orson Welles' great Classic, "Citizen Kane," in that regard. The success of international recognition brings scrutiny and even envy within the inner circles of a great artist and without a doubt, the surprising popularity of Rashomon, did just that. Kurosawa follows it up with an early literature favorite from Dostoevsky. He eventually creates the masterpiece, "Seven Samurai," which inspires another popular filmmaker to adapt it into, "The Magnificent Seven." Later, more such adaptations of Kurosawa films, both loose & exacting will create films like, "Star Wars."

Martin Scorsese, George Lucas, Francis Ford Coppola, Steven Spielberg and Paul Schrader are just a few of the internationally known American filmmakers who owe a great debt to the legacy of the man they call, Akira Kurosawa. One of the important aspects of Kurosawa and his influence on cinema is both his pre-war and post-war activity in filmmaking. He is assisting and in training throughout the period before World War Two. Kurosawa becomes a director in 1943, though his responsibilities as an assistant in previous productions had prepared him entirely. All throughout the War, Akira Kurosawa makes films that are influenced by what he sees and feels, but also by many of his Western influences such as writers like Georges Simenon. Kurosawa is blatantly honest about his many influences which include: D. W. Griffith, Ed McBain, Dostoevsky, Shakespeare and the frailty of mankind itself. Years after the war, Kurosawa openly discusses his acknowledgment of, "War Time filmmaking and National Code policies," that both hindered and influenced his ability to make the films he had intended to create. His complete and utter honesty regarding his past works is unheard of elsewhere. This quality of truth, which shows deeply in his work, is certainly one of the many reasons why Kurosawa is important. A must read book for any persons wishing to understand the films of Akira Kurosawa is the comprehensive manual, "The Films of Akira Kurosawa," by author Donald Ritchie, "Something of An Auto Biography," by Kurosawa himself and of course the many books written about each film, the scripts and stories they are based on, and to view the films themselves. I also believe that comparative film viewings are a great way to understand the relationships that we as artists, filmmakers and storytellers have with one another. If you watch, "The Hidden Fortress," as a double feature with, "Star Wars," or "The Seven Samurai," with "The Magnificent Seven," you may learn something of the interrelated quality which the arts provide this world. The unification of the human experience itself, on an international level, depends highly on the arts.

The films of Akira Kurosawa plays a key role in the international discussion and dissertation on our relations as people of the world. Another keen and important aspect to Akira Kurosawa's contribution to film itself is his deep knowledge and curiosity regarding philosophy, literature and the visual arts. As Kurosawa's popularity rises, he is more and more, able to make the type of film that he originally intended to create. In "High and Low," a detective story based on a book by Ed McBane, Kurosawa's positioning of characters in relation to their body language is so artistically defined and designed that it raises filmmaking to the level of high art. The single frame pictures in this production, especially the interior shots with four or more characters are simply masterpiece art paintings, fine art prints or highly developed photographs by a complete and utter artist of the highest order. Further, the images relate directly to story, emotion, narrative interpretation and culminate into what a film must be to succeed: Entertainment as well as Education. Kurosawa goes onto create a series of films that have created a legacy of outstanding cinema that have aligned themselves with his own country, with Asian history and traditions as well as the concerns of humanity as a whole. An artist will create works that reflect their personal interests, views and concerns as well as experience. At the same time, there are collective experiences that relate to one's nation, one's place in the world and one's very existence. The Akira Kurosawa catalogue is steeped in each afore mentioned example. His later works, such as, "Ran," and "Dreams," are a testament to humanity, history and proof that, Akira Kurosawa, from the first film to the last, set a great example and raised the bar of excellence as well as imagination. I do not pretend to be a specialist in Asian studies. I do not assume I know anything more than you do about Oriental culture. I do not profess to have the answers to the deeper questions that great art provides. I do know that the work of Akira Kurosawa has educated my knowledge, his films have informed my curiosity, his ideas have answered many of the deeper philosophical questions. And so, today, we honor the great Artist Akira Kurosawa in this BUREAU Icon Essay .

By Joshua A. TRILIEGI for BUREAU of ARTS and CULTURE Magazine International

FILM:BETTY BLUE The FRENCH CLASSIC

BUREAU Film Review

By Joshua A. Triliegi for LITERARY Edition / BUREAU of ARTS and CULTURE Magazine

Films about writers are usually about the writing of a great novel or the controversy surrounding the artists careers or any number of events that lead up to their success or downfall. There are a scant few films that have even gotten close to what it is like to be a writer or to attempt to create great artwork. Biographical works such as Barfly about Charles Bukowski or On the Road about Jack Kerouac have been relatively accurate renditions. They retained a certain gritty realist quality to the truth of it.

Betty Blue is a film which just happens to be about a writer turned house painter who falls in love with a wild and guileless creature. It is not 'about writing,' it is about life itself, passion, relationships, compromise, sexuality and insanity. Betty Blue had it's original release almost thirty years ago this year. The film is full of laughter, love and of loss. French director Jean-Jacques Beineix has created a steamy and sensual piece of cinema that is an out and out classic. Capturing the feeling of youth, lust, eroticism and escape. Women who watch the film ultimately fall in love with Zorg, the leading man, played brilliantly by Jean - Hugues Anglade. Conversely, men who view it, fall in love with leading lady, Béatrice Dalle, who in the title role is truly a french version of Marilyn Monroe. She drives the film like a thief might drive a stolen car: in the fast lane. Then she takes us off the road entirely into uncharted territory, emotionally speaking. All the while, one can't help but be seduced by her earthy indignation. Zorg has given up being a writer, but when Betty shows up on his doorstep with a suitcase, dressed like a birthday present ready to be unwrapped, he cannot resist. She discovers his early writing efforts, stays up for days reading his opus and quickly exclaims that he is a genius. The soundtrack with slow and moody saxophone solos and a driving pre techno beat warmed by accordion and that great flair that only the French can provide is simply perfect to a T. Part one is about Zorg and Betty's beginnings which end with her burning the entire house down.

Part two is about the attempt to get Zorg published and their ensuing friendship with another couple. There is so much dark humor and slice of life reality packed into this piece of cinema that it would be hard to really understand it, without truly saluting the french way of life as a whole. France and french culture is consumed by beauty and heartfelt ideas, by rich foods and high fashion and ultimately by a revolution that gives a certain power to the people. Betty, although slightly insane, epitomizes the raw and justifiable aggression we all feel when those with power or money or position abuse others. Zorg on the other hand is laid back, he goes with the flow, to the point where he has even given up on his dream to be a writer. Together they embark on a journey into each other, an escape from the past, into the future, which is always uncertain. Betty Blue reveals a life unbridled.

"There is so much dark humor and slice of life reality packed into this piece of cinema that it would be hard to really understand it, without truly saluting the french way of life as a whole. France and french culture is consumed by beauty and heartfelt ideas, by rich foods and high fashion and ultimately by a revolution that gives a certain power to the people."

When rejection letters that critically overplay Zorg's writing abilities, or lack thereof, pile up, Betty strikes back. At one point she physically attacks one of the wealthy upper-crust publishers. Although, Betty is clearly crossing the line, we actually end up rooting for her, after all, who doesn't want to slap an indignant bastard for going out of his way to trample a newcomer ? This incident leads to others and we realize that Betty is a live wire who won't take shit from anybody. Again, we fathom her aggravation, she's reacting to things we all would like to, but never actually do. Unfortunately, as the story progresses, so too does her condition and the film itself turns tragic. Regardless, this is still a film that fits into my top cinema favorites of the 1980s and definitely one of my favorite French films of all time. Also on that list, almost anything by Francois Truffaut and many of The French New Wave films such as Breathless. French culture will always remains a big part of this writer.

BUREAU OF ARTS AND CULTURE MAGAZINE FILMS IN RETRO REVIEW

QUIZ SHOW at TWENTY

By Joshua Triliegi For Bureau of Arts and Culture Magazine

Robert Redford is a Master Film Director of The American Landscape. His style is so deeply rooted in Realism that even when the story hindges on magical realism, such as, "The Legend of Bagger Vance", we as the audience are taken in, wholeheartedly. "A River Runs Through It" took Brad Pitt and insured that his career would not be one of how a handsome man can become succesful, Redford pushed the actor to find a personality that would surpass looks and it worked. "Quiz Show" takes on the almighty Power of Television and puts it on Trial. Today, we take a look at "QUIZ SHOW" on The 20th Anniversary.

Enter investigating lawyer and Harvard graduate at the top of his class, Richard Goodwin. A former clerk for Supreme Court Justice Frankfurter, who is on the subcommiitte for oversight. The film begins with undertones of the times, "Mack The Knife" by Bobby Daren is the films musical opener and on the radio, we are told that, "The Russians have launched Sputnik and all is not well in America." Redford knows the American historical backdrop well and informs his drama with the preceding years between 1950 and 1959 when this film takes place. the dreaded blacklist, which some how connected the Russian communist fear of an invasion with Jewish writers and leftist entertainers who were demonized by Joe McCarthy. More than once, Goodwin tells his fellow associates and his wife, "This is not McCarthy-ism here." Attempting to explain that he is simply going after the fact that the answers were being given to contestants and the public was dooped into tuning in night after night while the sponsors of these shows reaped in millions. The film marches in step between four worlds, Herb Stempel's blue collar neighborhood in Queens, Charlie Van Doren's uppercrust family in upstate New York, Richard Goodwin's moderate post graduate career life and the big and awe inspiring world of major network television with all its new bells, whistles and "APPLAUSE" signs.

Early on, an ad executive, played by Martin Scorsese, warns the television producers that Herb Stempel, who has been the winning contestant for several weeks is, 'not working'. The producers say that Stempel has that, "Everyman quality…" and that he represents the idea that anyone from New York can make it in America, The Ad Exec exclaims, "Queens is not New York …" and soon Herb Stempel is told he must take a dive. Dan Enright, the shows producer, delivers the bad news over steak and wine. When Stempel begs to stay on the show, he is reminded that, "It's an arrangement, It's always been an arrangement." He is ordered to give the wrong answer to a question that everyone in America knows and he is given the number of a psychiatrist free of charge, welcome to the network.

The Stempel character breaks and eventually demands some restitution from the television producers

who quickly move into cover up mode by launching Charlie Van Doren into the stratosphere of T.V. fame and fortune, he eventually makes upwards of 120,000 thousand dollars, surpassing even his famous father and uncles riches awarded by simply great writing, Pulitzer prizes and the like. By the time Charlie Van Doren graces the cover of Time magazine, Herb Stempel, who is schlumping around like a schmuck without a life, goes to the district attorney and an investigtion ensuses. The judge on the case, who regularly plays golf with the president of the network, conceals Stempels statement to "protect repuations from an unstable whistleblower." The concealment is the first of any such case in New York in the past hundred years, it attracts the likes of Richard Goodwin and things begin to heat up at this point on.

In the history of motion pictures, there have been other examples before and since this film was made. Paddy Chayafsky famously wrote NETWORK which was a dark and comedic opera like parody of television with brilliant performances by William Holden as a burnt out television executive and as a upwardly mobile television producer who will do anything for ratings. This film brought us the famous line, "I'm mad as hell and I'm not going to take it anymore!" Since the making of QUIZ SHOW, George Clooney directed the somber, yet honest, story of Edward R. Murrow's fight with the networks to tell certain truths that were better left untold. This is also a brilliant film told in black and white with performances by a cast of incredible actors all working in unison to bring this chapter of netwrok television to the fore. Clooney, who was a child of T.V. knows very well how to explain the tone of advertiser vs truth and he delivers well. Quiz Show sits somewhere between these two versions, both cinematically and sequentially. Redford's realist style and tone are not colored in any expressionistic way whatsoever, this is not a parody like NETWORK, nor is it a black and white report, like Clooney's, "GoodNight". Redford plays it straight and allows us to simply experience the events in real time, from all angles of a four cornered world. The film rolls out like a giant 1959 American made automobile, sexy, funny, bold, he's working with an ample budget, an outstanding cast and crew and top of the line costume, camera and production team. There are no tricky camera angles, nothing brings attention to the story accept simply great performances, a brilliant and balanced screenplay, as usual Redford always works with the most perfect script that encompasses the act one two and three format that then goes one step further and adds both a preamble and a post event wrap up that completely leaves the audeince informed, entertained and often times enthralled.With Quiz Show, he does all three: This is pure Cinema.

As Richard Goodwin begins to investigate The 21 Show, he is given personal contact information about Van Doren and the two strike up an unlikely friendship. Goodwin, who is Jewish, a Harvard Grad at the top of his class, a brilliant lawyer and a keen mind himself, is slow to suspect Charles Van Doren of any wrong doing. The two lunch at high brow restaurants and run into Charlie's father, who is a famous literary figure among a circle of writers such as Thurber and Edmund Wilson. It is not until Goodwin's wife pushes him to dig deeper that the drama really cranks up and Goodwin does indeed uncover the scandel. All along the way, previous contestants deny any commiseration, they all know too well the power of the networks and just when it seems hopeless, a Greenwhich Village artist and former contestant submits a self addressed stamped envelope with the questions of the show mailed to himself, several days prior to the actual live television airing. Goodwin now has evidence and gets his teeth into the television producers pantleg. "Your a very disruptive young man." he is told by Dan Enright, the show's hapless producer and netwok stooly who eventually flees to Mexico when the shit really hits the fan. Meanwhile, Richard Goodwin and Charlie Van Doren play poker, go sailing and celebrate Van Dorens father's birthday with background commentary from family members exclaiming that, "Charlie's famous, like Elvis Presley." The senior Van Doren has never seen Charlie's appearance on television and so for his birthday, he receives a TV set from his son Charlie.

By the time that Richard Goodwin gets to actually speak to television executives, he is given a list of Herb Stempel's psychiatric bill and a recording made while Stempel was heatedly unravelling. When Goodwin speaks to Stempel again, he admits that he was given the answers and goads Goodwin on to go after Van Doren, exclaiming, "Just 'cause you went to Harvard, you think you have a stake in the sytsem ?" The TV Exec's convince Charlie Van Doren that the investigation will not reach him and that Stempel is just a crackpot. But with Goodwin on the case, the other contestants self adressed letter and an impending investigation by the subcommittee, Charlie begins to buckle. During a poker game with a bunch of wealthy pals of Charlie, Goodwin begins to 'QUIZ' Charlie, who happens to be working on a book about, of all people, 'Honest Abe Lincoln'. At one point, Goodwin tells Charlie, "I know your lying." Charlie retorts with a simple response, "Bluffing. the word is, 'Bluffing'." This particular exchange is what makes Redford's world so damn compelling, he is a master of the slow but steady storytelling that unravels on the screen as a great book unravels on the page. Bob Redford is probably one of the most well respected and truthful directors when adapting books of the popular or well written variety in the past several decades. He simply works with best writers and those able to adapt a screenplay into something incredibly special from sometimes very thick and exaustive source material like in "A River Runs Through It". Which is based on a series of stories that were ignored by publishers for decades. When watching the film, it is hard to even fathom how they turned it into such a beautiful work. With Quiz Show, just the facts and historical details would confound most directors. Redford and his team take these facts and utilize them in a sequence that simply delivers the best and most honest surmisation of the event, allowing the audience to be edified as well as entertained.

As the pressure mounts, Charlie attempts to seek council from his father, but just can't seem to come clean about the truth. Meanwhile, Goodwin approaches the president of the network as if he's got them on the ropes in the final round of a championship boxing match, only to be left standing in the lobby with an insinuating statement by the fat cat exec that ends with the words, "…Then why are you the one sweating ?" Goodwin is pushed even further by his wife and with the support of some of his fellow lawyers on the committee, he finds his stride and pushes on. By this time, Charlie Van Doren decides to give a wrong answer to a question on the show simply to get off the roller coaster. Unfortunately, the question he misses surrounds a conversation and repartee that Goodwin witnessed between Charlie and his father during a party in upstate New York and now Richard Goodwin realizes that Charlie threw the answer on purpose and he goes after Van Doren, not publicly, but privately. Goodwin knows that Charlie was also given the answers "Why, Charlie, Why did you do it ?" he asks and when he presses furhter, Charlie caves in answering, "What would you have done ? Throw in the money, the fame, the cover of Time magazine ?" Goodwin stares the man down, he holds his moral ground until Charlie simply admits, "Well, thats the differnece between you and I." The television executives offer Charles Van Doren fifty thousand dollars and a morning show to teach children about, 'literature and the importance of reading'. He accepts the offer and is sucked even further into the networks spider web like offerings. By the time Goodwin nails the Television producers to the floor, they actually offer him his own show, he declines and instead suggests that the producer implicate the network. The producer admits that if he said a single word that, "They would never let me through the door again." Goodwin pauses, looks at the man and simply states, "I have a feeling your not walking through that door anyway." By this time, the film and its impending investigation roll forward with a non stop pace that is both rewarding and gratufying. Not surprisingly, the networks are untouched and the producers, we are told in a final scene, later returned with popular quiz shows some years later. In a final tit for tat dialogue exchange session between Richard Goodwin and the head advertising executive played here by Martin Scorsese, the ad exec exclaims, "It isn't about what I know, it's about whay you know… The Public has a very short memory, but corporation, they never forget… Look young man, you have a very promising future, watch yourself out there."

About the time that the elder Van Doren, Charlie's father exclaims that, "All this talk about cheating on a quiz show is like plagiarizing a comic book," Charlie comes clean, "They gave me the answers." Father's reaction is total surprise, "They gave you the answers ? Oh my god Charlie, How are you going to tell the committee ?" In a final scene, in front of the subcommitte and a host of swarming reporters, Charlie Van Doren finally admits to wrong doing in a speech that starts with, "Everything came to easy … " which is an echoing line from one of Robert Redford's earliest successes as an actor, his portrayal of Hubbel in, "The Way We Were." Redford's character writes a story which begins with the opening line, "Everything had come to easy …" and so we come full circle. The entire committee begins to congratulate Charles Van Doren for coming clean in an overly acceptable and non critical manner, until finally, a working class representative steps up and exclaims, "Although, I think it is commendable … I am from another part of New York … and I don't think by simply telling the truth you should be so easily forgiven." The audience begins to applaud, the camera view is now from high above the precedings and a gavel pounds for order. We hear Richard Goodwin's voiceover, "I thought we were going to get television, the truth is, television is going to get us." Which is true in more ways than one as even Robert Redford's Sundance Channel now has just as many commercials between independent films, as the big three network broadcasters.

One thing for sure, nobody would ever have expected Robert Redford the actor to ever even dream about, let alone realize his ability to direct films at the level with which he has delivered time and time again. Redford is one of America's best and brightest and we, here at BUREAU of ARTS and CULTURE, love his work, respect his artistic output and also honor his contribution to filmmaking.

THE BUREAU of ARTS and Culture Magazine FILM INTERVIEW TOM HAYES : DOCUMENTARIAN

Tom Hayes Wrote, Directed, Produced and Edited a New Documentary Feature film which takes us inside The World of Magazine Publishing at ESQUIRE Magazine during It's Zenith in The Heady 1960s. It's a Heartfelt, Hip and Candid film that also tells the story about Mr. Hayes' father who was one of America's Leading Legendary Magazine Editors. The film includes stories by & about Gay Talese, Tom Wolfe, Norman Mailer, Muhammad Ali, Dizzy Gillespie, Candice Bergen, George Lois plus Esquire's creative team of photographers and artists.

BUREAU: " Smiling Through The Apocalypse, " your new documentary is 1. A Biography,

2. An entertaining film about a time and a place and 3. A sort of Love letter to your father. Tell us about the experience of balancing these three themes.

Tom Hayes: At the onset, I knew the film would be a biography, but to include myself (or not) in the story was a constant problem. If I was absent, the film would then have become a straight documentary anyone could have made. The film, "My Architect," which is a milestone in the "son's-search-to-understand-his-father" genre, included the filmmaker as the main character in his narrative. I was not interested in being a main character because I felt the conflict in the film would not be something I had to resolve vis a vis our relationship, but would be more about the obstacles my father had to overcome to make his magazine great. By sprinkling the images of me from my childhood, and an occasional reference to my ambivalence, was the best way to strengthen my perspective on the subject, and to show the distance I had from my father's life while he edited Esquire Magazine.

Making the film entertaining was achieved by several intentional devices: fast cutting, jazz piano under my narration, and compelling images. After many of the interviews, I found my self thinking how slow-moving some of the anecdotes were. After all, most of these people were writers, and their storytelling verbose by default. I had to figure out a way to tell their stories in a faster moving way, and using covering images became the key. It was not only a heavy use of photo animation (the "Ken Burns" effect), but it was also images of people not available for interview to create dialogue exchanges when the storytelling included simulated dialogue. All of this allowed me to pick up the pace of the film and pack it with dense historical information against the compelling layout of the magazine's pages from that period. I think I was also able to benefit from the black-and-white imagery thanks to the recent success of the TV hit series, "Mad Men" - where audiences were drawn into the 60s via iconic fashion and culture. I was able to plant my audience into that period simply by the subject matter. [How the film became a love letter to my father was not something I had planned on. Unlike "My Architect," my childhood was pretty good and it simply came out that way. I wasn't abused, neglected, or ignored. I was sheltered from things I wasn't supposed to know about, and I can only be grateful... and say thank you. Many people complain that there should be more conflict, and therefore resolve, to make it a better film. The conflict was how my father managed to put the magazine together in light of history moving as it did while the lead times lagged several months behind. Perhaps not a sexy dilemma in and of itself, but there we are. It is a story of the rise and fall of a man who did make a mark by permitting so many talented people to develop their careers on his watch. The film is, therefore, a big thank you from me, and from his colleagues, whom he nurtured.

BUREAU: We watched the film twice, once to view it for review and another time to learn about the early days of great magazine publishing. ESQUIRE has such an interesting history, was it difficult picking and choosing which editions to include in the film ?

Tom Hayes: The problem was two-fold: art and copy. Graphically, the George Lois covers were easy. So many of them were iconic and great, whatever I used would compel interest. I did not use all 92, and there are some great ones that may be other people's favorites that were not included. What I selected were covers that created the most controversy like the Sonny Liston wearing the Santa Claus hat and William Calley smiling with Vietnamese kids around him. These covers were not only shown, but became segments. As for editorial, I focused primarily on landmark articles. Pieces that both transformed the magazine and the writers who contributed. Perhaps the best guide in making these decisions was my father's 1970 Anthology, "Smiling Through the Apocalypse - Esquire's History of the Sixties." Every piece included in this volume was what my father considered to be the best writing from when he was Editor. Most all of the featured editorial in my film, one can read in this book. Although out of print, you can still get it on Amazon.

BUREAU: The Interviewees all seemed to really respect your father, that must have been a very gratifying experience. Tell us about the process of looking at life through the eyes of a parent.

Tom Hayes: As a child, I still have memories of singing "My Buddy" with my father, and canoeing down the Suwanee River in Florida. He was a role model, and someone whose interests noticeably influenced mine. I was never really sure what he did to edit a magazine, but it was probably too complicated for him to explain. Instead, life with Dad really started when he came home, or in upstate New York on the weekends. On occasion, I did accompany him to his office and would rifle through all the promotional albums record companies would send him for free. But for the most part, what was going on for him in the office was a mystery. All I would really see was advanced copies of the coming issue perching on our coffee table. In revisiting this period as a filmmaker, I was given full access to understand how, what, where, when and why these advanced copies were made real. I became involved in appreciating what it was to make what my father called, "a modern magazine." I was able to understand better the pressure, frustrations, and achievements my father undertook. Even though most of this was transparent at the time, I wasn't that interested in magazines other than Mad Magazine, and if lucky enough, the occasional forbidden Playboy.

BUREAU: Does being the son of a famous and talented individual make being one yourself easier or more difficult ?

Tom Hayes: I think part of my pedigree is to downplay achievement. My father did enjoy some limelight as an occasional guest on the Merv Griffin Show or as a guest speaker at a College or University. He seemed always more interested in making others shine more than he did himself. By doing so, he knew it would reflect in his magazine, which would in turn be the reflection of himself. In making this film, a certain amount of attention has been steered in my direction, but like my father, its more fun to let the work shine first. Having the film run four shows daily here in New York has given me the chance to see a multitude of audience reaction. It's also been interesting to see the difference between audiences, because each one has their own collective personality.

BUREAU: You played all the key roles within the production: write, direct, edit, produce, etc… What are the pluses and minuses of having total control of a project ?

Tom Hayes: Doing all jobs in the production process, or at least most of them, was not how I would have preferred to make this film. If I had waited for funding to start the production, with the ability to hire key personnel, I would have probably missed out interviewing some of the amazing voices that make this film so valuable. But working alone allows you the freedom to work on your own schedule, and the flexibility to change anything at anytime. Editing a film about an editor, causes you to edit even when you think you're done. I was editing right up until the last possible moment, and still editing in my brain.

BUREAU: There seems to be a real revisionist experience happening in America regarding the times that your father was making culturally important decisions: Norman Mailer, The Black Panthers and especially The New Journalism of Gay Talese, Tom Wolfe and The so called beatniks. Although the film touches on your views briefly, what was it like looking back at your father's story ?

Tom Hayes: The onslaught of electronic media devices emerging, and where lead time is no longer an issue, the profound statements Esquire in the 60s made then become harder to make now. In essence, there are just too many outlets where too many points of view are constantly flooding the media. As such, magazine journalism fails to stand out against all other media as Esquire did in that time. One could argue that journalism has become more provocative than ever, where terrorists are manipulating broadcast media to cause thought through shock. Journalism has either transgressed or evolved into a few simple key strokes that cause a reaction similar to what George Lois' covers did in the 60s. All that differs are the tools. In the 60s, it was magazines, and Esquire led the pack with shock and awe.

BUREAU: Immediately after watching the film, as an Editor of a cutting edge Arts Publication, I started to see how we could push the envelope a little further. Tell us more about how your father appeared to be the most unlikely guy to push the culture the way that he did.

Tom Hayes: Numerous journalism experts will agree, to be an outsider is a winning ingredient for a successful journalist. It at least increases your potential to be curious. Dad was from North Carolina, a reserve in the Marines, and the son of a Southern Baptist preacher. He was also a social progressive. Founding Editor Arnold Gingrich saw this background to be the perfect combination for a successful editor, and gave him that chance. For Dad, blue jeans and The Doors were not part of the culture he would directly reflect. He did think knowing what was happening on college campuses was important, and would regularly send his editors to find out. But his interest always came from the curiosity of an outsider, which made everything he reported on more incredulous.

BUREAU: This is another documentary that seems have the ability to be much longer, with the new dvd formats available, will you add outtakes or extended interviews in the future ?

Tom Hayes: The DVD release will include "Bonus Features" including extended raw interviews with George Lois, Gore Vidal, Nora Ephron and others. All of this is still in development and still to be confirmed.

BUREAU: What would you say was the most gratifying experience in honoring your father and educating as well as entertaining the public with this personal story ?

Tom Hayes: The most gratifying experience is always to watch the audience, especially the animated ones. As mentioned earlier, each audience has its own personality, so to get a room full of people who "get" every nuance of humor, or other emotion, is the most priceless reward you can have.

BUREAU: What are you working on next besides supporting the Release of "Smiling Through the Apocalypse" and where can our readers interact and view your past present and future projects ?

Tom Hayes: I am in development with a biopic about a well known jazz musician from the 30s. It will be a completely different experience in that I would have much better control over the storytelling, but in a different way. As for seeing some of my past efforts, some of the hundreds of television news magazine stories I have produced for German TV in the past 23 years will be posted on my website www.telemotions.net

TELEMOTIONS LLC 405 East 54th Street, #3N New York, NY 10022

Tom Hayes http://TeleMotions.net FirstLookFilms.com

" SUPREMACY" : FILM PICK AT L A FILM FEST 2014

10 Question with BUREAU EDITOR Joshua Triliegi and Deon Taylor Director of The New Crime Drama playing at this years Los Angeles Film Festival

" This film taught me to live in the moment and simply be true to the story. " - Dion Taylor

BUREAU: What particular challenges did you face in entirely switching modes here and taking on high drama ?

BUREAU: Working with Danny Glover is a godsend for any director, once you knew he was on board, discuss with our readers how the rest of the film fell into place.

BUREAU: Eric J. Adams wrote the screenplay for this riveting drama, when did you first read the script and what made you decide to take this project on as a director ?

creative atmosphere on the set for your actors.

BUREAU: There is a real minimalist approach to background of characters due to the storyline. What challenges do you face when creating a cohesive world under theses conditions ?

BUREAU: Joe Anderson puts in a fierce performance that is both extreme and magnetic.Would you describe the process from casting to final performance.

BUREAU: Your film utilizes the psychological flashback as a sort of tension builder. How much leverage do you give your editor Richard B. Molina and describe a sequence

where he helped you to unify the project.

BUREAU: Give our readers an example of how an actor influenced the shooting of a particular sequence and shaped the film in a way you might have done differently without their particular contribution.

Trailer: https://www.youtube.com/watch?v=tp3gl4PLH9A

LAFFScreening Link:

http://filmguide.lafilmfest.com/tixSYS/2014/xslguide/eventnote?EventNumber=6079&

FILM MAKING AWARD SEASON : Hollywood Storytelling

Joshua A. Triliegi / BUREAU of Arts and Culture Magazine

About a 100 years ago, a group of storytellers descended upon Hollywood.

For years, outsiders said we live in a Town & not a City. They called us shallow,

vague, an all surface industry, a total facade, a dream factory heavy on the

nightmare. We were the butt of their jokes, yet somehow, somewhere within

that criticism, judgement and scrutiny, we perserveered. We created a machine

that tells stories, reflects on life, death, passion, love, hate, suppression and

on liberation. Eventually, it really started to piss us off, so we dug down into

it, we dug deeper, worked harder, smarter, better and faster than ever and we

came out the other end of it : A City. This is not a town anymore. We are all

touched by Los Angeles or Hollywood as they sometimes like to call us. Well,

lets face it, we are like the girl at the party that everyone wants to go home with,

but when it doesn't happen, those who didn't make the grade all start talking.

Hollywood is constantly criticized and we who live here, work here and grew up

here, take a lot of flack. At the same time, we get to be a part of an industry

that like any industry has it's ups and it's downs. The perks truly happen when

we decide to be a part of it. When we demand that we have something to offer

it, when we study, work and create something that can contribute to it and when

we realize, that we were a part of it all along. Everyone has a story. Telling those

stories, writing those stories, performing those stories, lighting those stories,

photographing, narrating, recording, developing and editing those stories is

what we do out here in Hollywood and from there it expands. France, Japan,

England, India, China, Germany, Spain, Italy, Russia have all created incredible

contributions to film making : Truffaut, Kurosawa, Hitchcock, Satyajit Ray,

Fritz Lang, Bunuel, Fellini , Tarkovsky to only name a few examples. Did I leave

someone out ? Of course I did. You know why ? Because film making has become

an industry that has spread to everyplace and everyone & everybody has a story.

The native Americans and tribal Africans and Ancient Ancestors sat around a fire

and discussed the visions of the fathers and grandfathers, mothers and grandmothers,

people gathered to hear these stories, word got out and the best story tellers

were honored. This is a tradition that has been with us as humans since the very

existence of language itself and quite possibly before we even spoke with words.

Today, various groups of people gather to do this with the contemporary tellers

of stories. Writers, Film makers, Artists, Performers, Musicians, Technicians

and a great deal of media that sometimes, somewhere, makes a whole lot of

money. I personally, never stepped up to tell a story for the money. From the

stream that I flowed from, the family I was raised in, the neighborhood I walked

through, the tribes that I met along the way, the only reason to tell a story, the

only purpose for the effort as I recall, was that you told a story for the glory.

You told a story because it happened, you told a story because you survived it,

you told a story because others did not. You told a story because it was the right

thing to do and you did your best doing it. There were times in life that were so

astounding, amazing or absurd that to tell the story to soon would only cheapen

the beauty, the power, the stoic nature of it's participants. Yes, we tell stories out

here in Hollywood or we help release those stories told else where. Sometimes

these stories are historically significant, other times they are a relief from the

grueling aspects of life, others times simply a way to relate to others and still

at other times to make us laugh at how ridiculous life can be. " Make 'em laugh,

Make 'em laugh … " or make them cry as the old adage goes, " No tears in the

writer, no tears in the reader." Award season is in full effect. The Golden Globes

being part one of a long and often grueling and frankly difficult period for those

wonderful and talented individuals who ALL DESERVE recognition from their peers.

Here at the BUREAU of Arts and Culture, we have decided to participate this year,

creating lists of who we think will win, what the word on the street is and who

we would like to win as well as who we think will win. Its a horse race of sorts and

with the Golden Globes, we actually picked Sixteen Awards right on the money.

We also garnered Four 'Word on the Street' decisions, One 'Deserves the Award',

recognition and only missed five categories entirely. The problem with all of this

is how extremely unfair it is to put some of our top performers through this some

times embarrassing process. The excitement, the pressure, the wackiness is all

part of the so called game. That said, you have to hand it to people like Leonardo

DiCaprio, who knows how to thank every single actor in their category by name.

With the Golden Globes, it is especially awkward & difficult to understand some

of the categories, films & performers competing against one another. Film and

Television are entirely different mediums and yet with cable, the two have much

more in common than ever before. The future of our medium, that of film making,

that of story telling, that of the spectacular situations we call entertainment is

constantly evolving and sometimes it devolves a bit, a sort of expand and contract.

Obviously, with living film makers such as Woody Allen, Martin Scorsese & Spielberg,

for example, we have in our very lifetime, extremely important story tellers here and

now. With history, we have the careers of endless actors, writers, directors & producers

to draw inspiration from. Hollywood and the ever expanding industry of film making is

an awesome piece of machinery. We need to honor our heroes, our storytellers, our

musicians and performers and technicians, but more than that, we need to be sure

that we protect, procure and provide for those up and coming. Lets turn to the great

city of Detroit and the unstoppable automobile industry to understand what indeed

can happen to any thriving industry. No less than a few decades ago, something was

there and now it is gone. A hundred years ago, a group of people came out West to

start an industry which we all love, in one way or another, everyone has a favorite

film, a favorite writer, director, musician, etc … Who receives the awards is always

fun to see, sometimes frustrating, other times sad, sometimes exhilarating and

often some what unfair. So, as we move deeper into awards season, lets consider

what we sometimes in quantum theory call, 'The Other Universe', the place where

an entirely other set of choices happens, all choices happen and understand that

everyone up there is a winner too. Take it a step further and understand that many

who are not up there at all are winners. There are films that you will never see that

are indeed winners and so it goes, such is life, all is well, 'goodnight and have a

pleasant tomorrow', kind of thing, if you know what I mean. In today's day and age,

we never really know who will become a great story teller, performer or musician.

Who would ever have thought that Robert Redford would grow into one of the best

film directors in the United States, if not the world. I certainly never did. But then

it happened: A River Runs through It, The Legend of Bagger Vance & Quiz Show.

A perfect trio of films that are each equally American, important and entertaining.

Careers in this industry can be amazingly surprising, they go up, they go down,

and so it goes. What an incredible machine this is, you get to tell the story and

quite possibly, it lasts forever. As long as whatever 'forever' actually means to us.

So then, congratulations to the winners, congratulations to the nominees and a big

congratulations to the people who were never nominated, the girl who almost got

the part, the guy who ended up on the proverbial cutting room floor and the poor

person who contributed a majority of ideas & may have never been credited, payed

or thanked along the way. This is a big machine and in working with big machinery,

people get hurt and sometimes they get retired and even worse, they sometimes

leave us forever. Is there a way to humanize this process ? Is there a way to protect,

procure and provide for important up & coming talent in this industry ? Is there a

way to keep this incredible city and industry we call Hollywood open to new talent.

I wouldn't know. But for those on the inside, those with the money, those with the

ability, those with the resources, those with the reputations, those with the track

record, those with the nominations, those with the awards, look around you. Take

a good look around you and remember that first time you got the part, that first

time you received a check, that first time you were invited to collaborate, that first

time you read a fabulous story, that first time you were attracted to this machine

we call Hollywood, Film Making, Story Telling and ask yourself who is next ? Who

deserves the kind of chances I received ? Who has a story that may not actually be

sitting on my agents desk. Who is worthy of telling a story? Who can I assist to

get where I am now ? How can I recognize it when I see it ? For the individual who

looks out for another while on top, is the individual who looks in the mirror every

single day and recognizes the fact that THEY are a winner. With or without, 'The

Envelope please … '.

BUREAU FEATURE STORY MARTIN SCORSESE : One of AMERICA's Most Important Film Makers

BUREAU OF ARTS AND CULTURE MAGAZINE : FILM

MARTIN SCORSESE :

One of AMERICA's Most Important Film Makers

by Joshua A. TRILIEGI [ VISIT THE AUTHOR TAP BY LINE ]

[ TO LISTEN TO THIS ARTICLE IN AUDIO TAP HERE ]

This year, we will be given another opus film by one of the greatest

film makers that America has ever created. Strange and challenged

experiences in life seem to create great artists of a major caliber.

Martin Scorsese was a child entangled with sickness, born of Italian

parents in a tough neighborhood, he retreated into the great movie

houses of New York City, learned the craft of classic film making by

watching the great early American directors such as John Ford, John

Huston and Orson Welles. From the European masters, Mr. Scorsese

was influenced by Alfred Hitchcock, Luchino Visconti, Jean Renoir,

Michael Powell, Roberto Rosellini, Frederico Fellini, Andrzel Wajda &

Mizoguchi Kenji among others.

After creating a few exercises , which is often what first films can

be, he created what most feel is his first 'real film': MEAN STREETS.

Famously coached by Independent film maker & actor John Casavettes,

who told Mr. Scorsese to go make a real film. And indeed he did.

Early on in the production New Yorkers began to hassle the young

director, 'There's nothing Mean about these streets.' , they shouted.

Early on, Mr. Scorsese attracted controversy and it has stayed with

him throughout his career. Taxi Driver and The last Temptation of

Christ, possibly creating the most amount of misunderstanding &

friction that only seemed to fuel his inspir

ation and also led to a good

deal of what we commonly call in the business: Free Advertising.

In 1974, while putting together, Alice doesn't live Here Anymore,

he approached Ellen Burstyn for the role of Alice. While reviewing his

films up to that point Ms. Burstyn point blank asked the young director

if he knew 'Anything' about women, his answer ? 'No, but I'm willing

to learn'. The film went on to create accolades for both Ms. Burstyn,

her co star, Kris Kristofferson and a little known discovery: Jodie Foster.

Ms. foster would go onto a nomination for her role in Taxi Driver,

creating a backlash and more controversy for the Director. As well

as awards and acceptance from the global film community and

Hollywood critics.

In 1977, his love of early musicals, music always plays a big part in

any Scorsese production, led him to new York, New York, which was

again, out of synch with the public's taste, yet still and all, is a lavish

production.

In 1980, Mr Scorsese's relationship with Robert De Niro led him

to direct the boxing film Raging Bull, which was a brutal and

realistic portrait of Jake La Motta. Shot in classic black & white,

unheard of at the time, winning an Oscar for his long time

collaborator, Mr. De Niro and so to be stalwart Scorsese actor

Joe Pesci as well as the discovery of actress Cathy Moriarty.

The sound design is phenomenal, each boxing match is shot

with a variation, the scenes in between the matches often, quiet

& still, one can easily see Mr. Scorsese's influence by the Italian

Neo-Realists here: Visconti, Rosellini and a love of the early boxing

Films of the 1940's and 1950's. I was honored to visit the Film Set

of this production and had the pleasure of lunching with Mr De Niro,

meeting the real Jake La Motta and viewing the master director at

work with thousands of extras in costume. Something I can only

liken to watching Rembrandt paint an oil painting in his studio.

In 1983, Mr Scorsese took on the world of comedy's underbelly

& the aspects of fame that can lead to desperation, insanity and

obsession with The King of Comedy. Jerry Lewis, Robert De Niro

and Sandra Bernhardt collide in this wacky, dark and uncomfortable

look at the sidelines of television and entertainment. A visionary work

that hints at where we are today with fans obsessive attachment to

the famous, rich and influential entertainers of television, music &

filmmaking.

In 1985, Mr Scorsese directed one of the films that are sometimes

known as his smaller films: After Hours. A crazy, funny and Art House

hit that has comedic flare and wit, utilizing the art world, New York's

neighborhoods and a hipster paranoia that reminds one of films like,

'Its a mad, mad, mad, mad World'.

Also included in this category would be 1986' s The Color of Money,

which was a sort of Part Two to The Hustler, starring Paul Newman

as fast Eddie Felson and utilizing a rising young star Tom Cruz.

The film was a comeback for Paul Newman and is a great piece of

cinema that takes us deep into the world of Pool Hall hustling &

another early cameo by the great actor Forrest Whittaker. Mr Scorsese

is a lot like Spike Lee, in that they both court controversy and have a

tendency to discover great new talent: Sam Jackson for instance.

1988 brought us, The Last Temptation of Christ, which emblazoned

a sort of hysteria from christians which unfortunately marred the

audiences opinions against an otherwise thoughtful and interesting

take on the possibilities of the life of the man known as Jesus the Christ.

It is ultimately and interesting an thoughtful piece with an outstanding

and inspired performance by Willem Defoe and guest performers such

as John Lurie and David Bowie. Mr Scorsese's casting choices are always

a big part of his creative collaboration and process. Universal Studios

was demonized for the movie, most of the protestors had never even

seen the movie. Mr Scorsese was somewhat surprised by the reaction.

In 1990, Martin Scorsese returned to the screen with what would be

considered an entire and utter Classic: GoodFellas. Up to this point

possibly his best film ever. A great script, performances by De Niro,

Pesci and Ray Liotta that stand the test of time, a return to the Italian

American experience that Mr. Scorsese knows very well. Awards from

every important film organization and three of the big Academy

Nominations: Best Picture, Best Director, Best Adapted Screenplay.

In 1991. Mr Scorsese brought us a remake with Cape Fear. Another

strange, dark and menacing drama that pits Jessica Lange and Nick

Nolte, whom the director had worked with in his section of a three

short story feature : New York Stories, which also starred a new face

on the screen: Steve Buscemi of Boardwalk Empire fame.

In 1993, Mr Scorsese took on what might be considered his classic

film renditions. One can see his love of great classic films such as

Gone with the Wind in this film: The Age of Innocence. A giant colorful

tapestry laden with lush food, flowers, costumes and the beginning of

a great collaboration with actor Daniel Day Lewis, who would return to

the Scorsese camp for Gangs of New York almost a decade later.

More Nominations: Best Director, Best Adapted Screenplay, etc ...

In 1995, A return to the big Italian American genre that brought us

Mean Streets and Goodfellas, a completion of what may be considered

his italian trilogy, the epic film: CASINO. De Niro and Pesci return to

the scene as well as interesting casting choices like Don Rickles as a

casino pit boss, who would have thought of that ? An incredible and

tour de force performance by Sharon Stone putting her front and

center as a powerful actress in top notch form, deserving of dollars

& respect. Possibly one of his best films up to that point in his career.

A classic loved by all.

In 1997, Mr Scorsese, visits the asian inspired, Kundun. A tibetan

tale of struggle and politics that surround the tibetan country and

it's people. Some said he was out of his element here, but, even

when Mr Scorsese stretches his boundaries as he did here, there

is enough on the screen to inspire, teach and yes, entertain.

In 1999, Scorsese teams up with Nicolas Cage in this adrenaline

fueled story of an ambulance driver and his nightmare like work

place: The streets of the big city. A sort of Taxi driver like return

to working class obsession and hallucination. Cage puts in a

performance of a lifetime, while John goodman watches his partners

slow descent into an insomnia induced insanity. The camera work

here is fabulous. Another street film that utilizes the city itself as

a character and even as the villain.

In 2002, a return to the big costume period film genre that was

hinted at with Age of Innocence, but this time with the proper

amount of guts and glory that seem to inspire this director and

satisfy his audience. A large and difficult film that combines

historical aspects of Scorsese's beloved New York City with the

struggles of early Americans, religion, politics and dramatic

storytelling. With performances by Leonardo De Caprio, who will

become one of Mr Scorsese's greatest collaborators time & time

again: The Aviator, The Departed, Shutter Island and this years

The Wolf of Wall Street. The Gangs of New York is an epic tale that

brings back Daniel Day Lewis in a terrifying performance as Bill The

Butcher with a Who's Who of acting from both American and

European Actors, straddling the dangerous territory of accents,

costumes and acting styles that are difficult to put on the screen

in one entire production. This is Mr. Scorsese as oil painter

extraordinaire, his largest series to date. A difficult challenge indeed.

We begin to see Mr Scorsese's use of the digital format utilized here

in outrageous shots, set pieces and tunneling like transformations

from full shots high above the city to close ups entering a characters

pupils. This is the master film maker having a field day with the

best actors, designers and collaborators on the planet. Amazing.

Nominations All Around

In 2004, Mr Scorsese and De Caprio return to give us an inside

look at the much talked about life of Howard Hughes. An interesting

film with both Vegas, Hollywood and the insanity of being an artist,

creator and inventor as well as the burdens of success in all walks

of the American dream. A paranoid yet somehow innocent and

success driven story with interesting performances and some would

say incongruous casting choices, though still and all, great efforts

by all involved. A dark, lush film shot with a somber and rich palette.

Mr Scorsese is an artist first, film maker second, historian third.

It shows here and this is a compelling film that thrusts us into

Hughes world, and leaves us at his door step at the very

end. Broken, battered, wondering. Nominations All Around.

In 2006, Mr Scorsese takes on the Irish Boston mob scene

with The Departed. Working with Jack Nicholson, who was

famously cajoled by the likes of Mark Wahlberg and De Caprio

to participate in this picture. A return to the Goodfellas like

genre complete with FBI Agents, Irish Gang Ethos and codes

of conduct. This film is driven mostly by great performances

by both Wahlberg and De Caprio. One can see there keen interest

in the project and their enthusiasm and ability carries the film up

and over whatever limitations exist within the written material.

Best Director Awards across the board: The Academy, Golden

Globe, Everyone agrees Martin Scorsese is a master film maker

who tells stories that are true to America.

In 2010, Mr Scorsese and Leonardo De Caprio stay several steps

ahead of their audience in this strange, psycho drama of the old

school variety: Shutter Island. A head scratcher to say the least.

A psyche out of the Hitchcockian variety: Rear Window with

Shutters on it. Another dark and rather difficult film to view.

Leonardo De Caprio twisting and retching about in a manner

reminiscent of his early and incredibly naked performances such

as his role in Gilbert Grape. Another brave & discordant rendition

that is probably a bit ahead of it's time. Many of Mr Scorsese's

films are decades ahead, creating entire genres & a new crop of

film makers who fill a certain void: Jim Jarmusch, Spike Lee,

Paul Thomas Anderson.

In 2011, Mr Scorsese utilizes the digital media to create a life long

dream project: HUGO. Which is a much more mainstream project

that catapults his popularity into the mainstream for audiences of

all ages. Over 35 nominations from film organizations around the

world recognize his talent, efforts and contributions.

Which brings us to 2013, The Wolf of Wall Street. Starring

Leonardo De Caprio, one of his greatest collaborators, based

on a great book, Mr. Scorsese always does well with adaptions.

A story line that Americans will indeed be interested in and

already everyone is talking about this film. We are looking

forward to seeing it and you will find a review on these pages.

Of course the Documentaries have not been mentioned in

this appreciation, but Mr Scorsese is a fine and thorough

documentarian: Contributions to WoodStock, The Last Waltz,

The Blues, Shine a Light, George Harrison and a slew of

important short films. Mr Scorsese is also the executive

producer and pilot creator of important cable film series

such as The Board Walk Empire Series on Home Box office.

SCROLL DOWN FOR links TO FILM RELATED FILM EVENTS, TOURS AND MORE

A DOCUMENTARY BY BILL STONE

TRIUMPH OF THE WALL

Film Review by Joshua A. TRILIEGI for

Bureau of ARTS and CULTURE Magazine

and www.BureauofArtsandCulture.com

A documentary which chronicles the building of a wall ?

Yes. Funny. Inspiring. Thought provoking. A well made

film which looks at the dogged decisions that humans

make to accomplish the un accomplishable. Expecting to

complete the making of a thousand foot long wall and

finding that it will take more than a few years surprises,

frustrates and ultimately inspires both the subject(s) as

well as the filmmaker of this interesting & funny film.

Chris Overing decides on a whim that he wants to make a

lasting work of art by hand: A Stone Wall. He finds that life,

art, craft and obstacles that get in our path are just a few of

the problems along the way. Bill Stone ( All puns intended )

follows Chris on the journey, camera in hand, a sort of reluctant

documentarian searching for the perfect subject and finding

life's larger questions looming behind every crack & crevice

in the project as well as in his subjects bravado attitude.

The camerawork is brilliant. The voiceover narration

is both funny and poignant. An ongoing philosophical

ramble which is entertaining and ultimately inspiring.

Artists often get themselves into some terrible situations

when they decide to make a work of art. If no one was

watching, maybe they would not continue, but with a built

in audience, there is a need to follow through. Chris and

Bill bond through this strange experience, like brothers or

partners and through it all the audience is taken on a journey.

Eventually, the filmmaker is given a grant for the film and

his subject is joined by a rock & roll duo, moonlighting as

helpers.

When the filmmaker tires of Chris' antics, he travel

overseas and we learn about the craft of building stone

walls from a few elder craftsmen in Europe. These older

men are magical in their awe for nature and building

stone walls by hand. Their patience rubs off on the

filmmaker, the film and the original subject and goal.

An unexpectedly interesting documentary due to it's

craftsmanship, commentary and painstakingly beautiful

camerawork and editing. Highly recommended for those

needing to complete any long term project or inspire artists

and or art students to commit themselves to the fine craft

of creating art for a living. One thinks of the long arduous

art processes centuries before filmmaking: The Pyramids,

Easter Island, The Sistine Chapel, what we might have seen

and heard had there been someone such as Bill Stone nearby.

We are highly suggesting this film. Brought to you by the

brave folks at First Run Features. Look for more reviews

as we focus on their catalogue of Documentaries throughout

the season.

http://www.BUREAUofartsandculture.com/FILM--BUREAU.html

BERT STERN: ORIGINAL MAD MAN

An original & personal film created by one of Bert's Stern's longtime

photographic subjects. This film is an insiders look at Mr. Stern's life,

career, his history & approach to creating the images that the world

of photographers and collectors have come to admire , appreciate and

purchase as well as publish. Mr. Stern is famous for creating iconic

portraits of Marilyn Monroe, Elizabeth Taylor, Audrey Hepburn and

the more contemporary models and actresses through the years and

up to the present day, including Lyndsey Lohan and Kate Moss.

This is a home movie of sorts, sometime vague, other times exacting,

sometimes personal, other times professional. Bert Stern has run the

gamut, he's a character, an old schooler from the golden era of advertising.

Most famously photographing what became Marilyn Monroe' s final photo-

graphic session for Vogue Magazine.

Mr Stern was in the thick of New York when photographs became the

chosen media for advertisements which up to that time relied heavily

on drawings, graphics and illustrations. Bert Stern is an artist who

happened upon a camera and, as many professionals will testify, trans-

formed the industry of photographic advertising, portraiture and selling

an image. This film is a casual look at Mr Stern, told by Bert Stern himself,

over a glass of wine, breakfast, after hours conversations.

We meet his loves, his successes, his foibles and witness his comeback

from a forgotten and obscure iconic image maker to a collected and

respected lion of the industry. This is a good introduction to Mr Stern

who continues to somehow keep himself in the public eye, through

controversy as well as revisiting the themes and images that made

him famous to begin with.

The film is presented by First Run Features which has a large volume

of documentaries on interesting, controversial and obsessive personalities

like Ferlinghetti, Phil Ochs, Mumia, Charles & Ray Eames, Howard Zinn,

Harper Lee, Fidel Castro and Erroll Garner among others. In the politically

correct world of today's film and filmmakers, First Run Features has a brave

catalogue of feature documentaries that are controversial, entertaining and

fiercely original. Look for more Reviews of their films here at The BUREAU.

BUREAU: FILM

THE UNBEARABLE LIGHTNESS OF BEING

" In The Kingdom of Kitsch "

A Twenty Five Year Anniversary Appreciation

By Joshua A. TRILIEGI

In 1988 director Phillip Kaufman brought to the screen a novel by Milan Kundera.

Mr Kaufman has always been at least, a decade ahead of the times. His films have

constantly created genres, influenced directors and bravely translated literature &

historical events to the screen. His adherence and loyalty to source material is

unmatched. The Wanderers, The Right Stuff, Henry and June, to name a few, have

inspired and set the stage for other films within the genre, consistently raising the

bar on truth, quality, reverence to the originator and entertainment well beyond the

current trends. Mr. Kaufman brings to life words with a keen sense of detail and a

wide world view which brings the viewer into a realm of reality or fantasy that seems

to punctuate humanity and specifically the boundaries with which life presents.

The Unbearable Lightness of Being might be considered his masterpiece, although,

due to his prolific and influential output in other genres, it is safe to say that Kaufman

will not be remembered for any one film. He is under rated, in terms of being what

they call a house hold name. But to directors in the industry, film students and

international film festivals, associations and aficionados, Mr. Kaufman is heroic.

The Right Stuff opened the door for a slew of astronaut films including Apollo 13.

Kaufman practically created the genre. By setting an absolute tone, fabulous casting,

flawless research and collaboration with top costumers, photographers and producers

his influence is felt far beyond the time and the place with which his films are released.

In The Unbearable Lightness of Being a stellar cast of actors bring to life historical

events. Politics, passion, literature and history meld into a contemporary take on a

situation which relates to and possibly rivals director David Lean's, Doctor Zhivago.

Film history relies on itself to continue certain traditions. Film makers grow up watching

films which inspire works of art that later influence the next generation and so on.

As Zhivago was based on a great novel about love that just so happens to be placed

in a time of political upheaval, so to does the source material for Milan Kundera's novel.

Daniel Day - Lewis spreads his wings in this production which for the first time truly

employs his talents to an international audience in a story that juxtaposes his love

for life, women and country and the complications that arise between politics, change,

revolution and expressing one's self as a writer while making a living at another trade,

in this case : brain surgery. One can imagine Mr. Kaufman's desk covered with book

options through the years & muttering to his producers cliches' such as, 'It's not rocket

science.' or 'It doesn't take a brain Surgeon.' But for Kaufman it definitely is rocket

science & as far as this writer is concerned, it is brain surgery, for Kaufman is a genius.

I never use the word and yet there it is on the page. There is something about his films

that generate a certain amount of passion, interest and bon vivant. His take on life is

liberated, his characters are on the edge of history, pushing the envelope into a new

time & place. Sam Shepard' s characterization of astronaut Chuck Yeager in the

Right Stuff is a perfect example. Characters who break boundaries and later seem to

go uncredited or under the radar. Or bringing to life the triangular love relationship

between Henry Miller and his lovers. Source material that few directors would know

how to approach, let alone, how to raise the funds for and bring to life on the screen.

Unbearable Lightness of Being also visits this type of triangular passion and complicated

relationship that make for great drama. Kaufman's take on life, love & history are dramatic,

but laced with a pathos, irony and humor that keeps one interested through out. He has

a rare viewpoint that illustrates life's issues and relationships in an original & complicated

way. With stellar performances by Lena Olin and a fresh faced newcomer on the scene,

Juliet Binoche. Supporting cast includes Stellan Skarsgard. This erotic, yet human feature

film takes us inside Czekloslavakia during a particularly tumultuous time in their history

with an oppressive an invasive Russian takeover during the nineteen sixties. Politics, passion

and provocation abound. Kaufman's films almost never come in at the usual commercial

time of ninety minutes. He is an artist, most of his features are two hours or more.

Unbearable Lightness of Being comes in at an epic 172 minutes, just under three hours.

Every scene, every line, every moment is fresh, alive, undeniably truthful, unabashedly

human & heartbreakingly real. Originally a part of the Orion Pictures catalogue. Produced

by The Saul Zaentz Company. A brave and bold historical film well worth celebrating.

This has been an appreciation of UNBEARABLE LIGHTNESS OF BEING on the 25 year

Anniversary. An ongoing Series of articles marking the Films, Books & Artworks that

are worth remembering, re-watching, re-reading and re-celebrating time & time again.

by Joshua A. TRILIEGI Exclusively for http://www.BUREAUofARTSandCULTURE.com

BUREAU FILM : ON THE ROAD

DIRECTED BY WALTER SALLES

STARRING : SAM RILEY, GARRETT HEDLUND,

KRISTEN STEWART & KIRSTEN DUNST

REVIEWED By Joshua A. TRILIEGI

A dangerously loyal adaption of a highly influential and often misunderstood novel
by an author who dearly loved his friends, jazz, people and places that were inspiring.
" The only ones for me are the mad ones... " is a quote from Jack Kerouac's novel
which was reviewed by a stand - in literature critic for The New York Times, who
lauded the work as a breakthrough moment in American Literature and a star was
born. This is the novel that inspired an entire generation to break free of the social
norms and simply be yourself, travel, make love, make music, love the common man,
write about your hearts desires and most of all, love your life for all it has to offer.

First of all, I am a biased reviewer in that I love Jack Kerouac, The Beats, Jazz,
the common man, people and places that are inspiring. I have read most of the
novels and published letters by the characters personified within this film: Jack
Kerouac, Allen Ginsberg & William Burroughs and have produced minor films that
were inspired by these American authors. That said, this is the greatest film adaption
of any Beat Film ever. One only hopes that the film makers will be able to put on the
screen a classic novel that so many of us have loved, honored and cherished our whole
lives. The film is nothing less than the most perfect adaption ever produced on Beats.
From the opening shot above a parking lot to the final scene on the streets of New York,
the film breaths life into an impossible novel that took decades to bring to the big screen. Francis Ford Coppola executive produces [ that means he put up the dough ] so that the director Walter Salles could bring this gem into existence and put himself into the major arena of outstanding film adaption by directors who shall be honored for years to come.

The performances as far as I am concerned, are pitch perfect. Accents, performances,
style and character development as well as a commitment to realistic personifications
are entirely delivered with a loyalty to truth, legend and entertainment. This is dangerous. This is exciting. This is Inspiring. This is On The Road and life after Neil Cassady will never be the same again. For those not ' In The Know ' heres a primer. Have you ever had a best friend ? Attractive, exciting, dangerous, from the wrong side of the tracks ? Someone who showed you a side of life never seen within your own house, neighborhood, city, state, country ? Well, Jack Kerouac did, he had several, but his old pal Neil took the cake. Sure, he also had Allen Ginsberg, who would go onto write the famous poem that was banned for indecency entitled, " HOWL ". These days it is taught as a major work of art at places like West Point Academy. He also had William Burroughs famous for his dangerously subversive novel entitled, " Naked Lunch " another Beat film which was also brought to the big screen by Canadian director, David Cronenberg. Another dangerously loyal film adaption that went way beyond the book into the realm of Burroughsian-Land.

Jack was probably the least eccentric of all the Beats, A French Catholic boy who loved
America dearly, hated suppressive government and wanted to express that in his work.
On The Road was his opus which sat around for years, influencing his friends as well as
informing his detractors and pissing off the squares who had no idea what he was talking
about most of the time. The film offers a straight ahead, lush and lovely offering - like
version of the written word that is bound to ruffle a few feathers, scare a few squares,
rattle a few cages and inspire more than a few too read the novels and break free once
again. Its a beautiful look at an oppressive time in America. These are the Mc Carthy
Years. the time of the black lists in Hollywood and New York. Eisenhower, Truman, etc...

The story and film itself is insulated by its own parameters of friendship, loyalty, love,
sex, drugs and endless searchings for kicks, kicks, kicks. Do you know the song lyric,
" Get your kicks on Route 66 ... " ? The popularity of goatee beards, black sunglasses,
black clothes, jazz music for white folks, coffeehouses, Bob Dylan, poetry, classic cars,
the popularity of Marijuana, traveling by bus, car and railway, heading West, the entire
hippy movement, rock and roll, tune in , turn on and drop out, as well as the writings of
folks who brought us : One Flew Over The Cuckoos Nest, Easy Rider and This film here,
all of it stems from the pen, the mind, the man, the myth, the legend that is Jack Kerouac.

The canon of influence that ON THE ROAD and HOWL and NAKED LUNCH had is quite
immense. These folks were dealing with themes and taboos that have been broken wide
open : Mixed Race Couples, Gay Sex, Marijuana. In the nineteen fifties, you went to jail,
were beaten down or in some case were actually killed for being outside the system. Some
would argue that some of these restrictions have creeped up on us again. In any event,
this a an outstanding rendition of a classic American Novel that to be sure, Jack Kerouac
and his pals, gals and fans would be very proud of. Its the real thing. A word about the
production design. Flawless costumes, atmosphere, hand held camera work that captures
the mystery, mastery and misanthropy as well as the come downs from the heavy high of
being On The Road and having to come home, back down to Earth, back to the real world.

I am unsure what the average American viewer will think of all the sex, drugs and rock & roll. There are plenty of inside jokes for beat fans, beat readers and those who actually lived through this period of time. I will say that the performances are explicit, expressive and exciting as well as entertaining. There is just the right amount of travel across America and into Mexico as well as a balanced display of the price this type of life costed the participants as well as the friends and relatives of those nearby. For Jack, it gave him life lessons, broke his heart, gave him a novel and taught him a thing or two about loyalty, friendship, love, freedom and the boundaries thereof. For beat fans this is a fabulous film, for the actors, maybe a nomination, for the producer and director, one can only hope for a few awards by early next year. Ya got my vote. Because the only ones for me are the mad ones, the ones who are mad to live, mad to be saved, desirous of everything...

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NEW YORK : www.BUREAUofARTSandCULTURENY.blogspot.com

BUREAU FILM : THE BEAUTIFUL COUNTRY

Directed by Hans Petter Molland

Starring Damien Nguyen

Playing on HBO

Reviewed by Joshua A. TRILIEGI

The Beautiful Country is a heartbreaking journey which
helps any American born stateside to understand fully
the difficulty in being born elsewhere, but having ones
heart set on America & the dream it holds for so many.

Half American, half Vietnamese, our lead character leaves
his native country to find his American born father by birth.
Hated by the locals, un-accepted by his mother' s family and
friends. he takes a leap into the abyss of the unknown world.

From small town to boat, from concentration camp to ship
and on into a story of struggle, pain, not belonging, outsider
status and the search for the father ultimately becomes the
search for self. With little brother in tow and a fist full of
foreign bills, he leads us into a luckless trip full of sweet &
sour sorrow. Befriending other American dreamers along
the way : a Chinese dissident, an attractive young lady, a
sick old man, fellow refugees who have sold themselves to
get on over. None of these friendships seem make the trip
any easier. Prostitution, resistance, political oppression &
the search for that ever elusive American dream embroil
into a game of dangerous proportions with death at every
turn. Humans trapped on a chess board of heroic sacrifice
and humble beginnings. A beautiful and touching film with
excellent writing and directing, very well produced and career
making performances by newcomers as well as stalwart pros.
Tim Roth is the captain of the ship and the incomparable
Nick Nolte is the father, an ex G.I. living on a farm in Texas.

Survival, death and opportunity all mix into a volatile cocktail
of moral values versus the marketplace of human trafficking.
With allusions to death camps of both post and pre war eras,
and the promise that, " You' ll all get rich in America ." , our
characters are trapped in a carrot dangling process of hunger
for both food and a better life elsewhere. A life in America.
Another brave production by Ed Pressman, Terence Malick
and San Nazarian who put up the funds. A return to the kind of
films that Americans were known to produce in the heyday of
classic 1970's and again in the 1990's period of real film making.
All too often, cartoons, machines and digital effects have taken
center stage over story, acting and simply great film making.

The Beautiful Country is a return to the kind of film making
that made the entire world look to Hollywood with love, respect
& honor. A sorrowful film with heartbreaking proportions. A
sort of love letter to the after effects of war, peace, exodus and
the price paid to not only make it in America, but the price paid
to actually get here. Fellow inmates play a game of who can
mention the most American icons in a tandem roulette - like
fashion : Clint Eastwood, Mickey Mouse, NFL, etc ... The basic
subjects that we as Americans take for granted, others do not.
America is indeed ' The Beautiful Country ' , but a whole lotta
ugly can sure be dished out by those wishing to dangle carrots,
abuse their power & use immigrants as tools, objects and or
devices for their own personal gain.

With nothing more than a photograph, an address and a name,
our hero, heart in hand, finds a way to survive the journey, help
others along the way and somehow retain integrity & self respect
in a world full of deceit, dishonesty and destitute situations . He
loses family, gains friends and ultimately finds his father. In a
particularly heroic effort he challenges the ships bullying drug
dealer who leads the games which pit passenger against passenger.
Putting a stop to the games by ultimately out quoting him with a
list of American icons that include : The Miami Dolphins, George
Washington, Huntington Beach, Minnesota and the 10 Freeway,
A touching scene which employs humor, pathos and sadness with
a punch to the gut for anyone with a heart. Finally after several
deaths, detours and degradations, our hero does indeed make it
over. Only to find out that any Vietnamese with an American
father is allowed to fly into America free of charge. All in all
our hero retains that sweet human trait we know as ' Grace ' .
The final chapter between he and his father is touching & open.
I highly suggest this film currently on HBO Cable.

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WHY JIM HARRISON IS NOT DEAD

Tap Image to Read The Article Honoring The "LEGENDS OF THE FALL" Writer and Poet: Jim Harrison came from a family that adored and revered Literature: "My Family were obsessive readers…" The famous story goes, that, at a dinner table discussion, his family were talking about Norman Mailer's first success on the world stage and his book, entitled, " The Naked and The Dead, " young Jim responded to the conversation with the quick and curious question, "Does it have Illustrations ?" Laughter ensued and the beginning of his particularly curious, yet grounded, stoic, although humorous, celebratory whilst at the same time cautionary literary style is born.

THE IRVINE WELSH INTERVIEW

Author of TRAIN-SPOTTING on Writing, Politics + More/ Photo Essay By Walter ROTHWELL: "One of the things that happens with success is that you need to balance being a writer with an author. Writers write, while authors promote and talk about their work. So you learn that you have two jobs, which generally compliment each other, but can often get in each others way. This confusion is compounded by me working in film and TV; you need to think differently on screenplay as you are an architect rather than a builder, and once a work goes into production, you (appropriately) fall quite far down the food chain. So I now wear different hats, which I usually like –life gets boring doing the same thing."

The Nathan Walsh Interview

Tap to Read The New York Based BUREAU Guest Artist discussing his work, technique and the future of Realism in ART with Bureau Editor Joshua TRILIEGI: "I started collecting art related books as a student. This has served as daily form a of inspiration and guidance for my own practice. Looking at significant artists and paintings of the past can often be intimidating but can also suggest ways forward. My inspirations are numerous and varied from Piranesi’s engravings to the decorative tiles of William De Morgan. What connects all of these interests is a strong sense of structure and pattern. Most of the artists and designers I admire had or have a rigorous approach to composition and commitment to process perhaps more than outcome. I often think my own work as “sampling” these inspiring figures, whether it be the palette of Bonnard or the dynamism of a Bernice Abbott photograph. " - NATHAN WALSH

THE MUSIC EDITION

Tap To Read and or Download The FREE Music Edition INTERVIEW Painter CHRISTOPHER STOTT . This New Edition Contains The BUREAU MUSIC ICON Essay: HANK WILLIAMS . PHOTOGRAPHIC ESSAYS and ARTICLES BY THE INFAMOUS MR. ART SHAY . MATHEW BARNEY at MOCA LA Plus BUREAU PROFILE : ANDREW HOLDER . The BUREAU PHOTOGRAPHIC INTERVIEW with LAURA STEVENS in PARIS . BUREAU FILM : BLUE VELVET at THIRTY . ART of MILES DAVIS "The SHAMAN" . PRINCE TRIBUTE plus MUSIC INTERVIEW with Singer-Songwriter: JOSHUA TATE . SOUND ARTIST : CÉLESTE BOURSIER - MOUGENOT with CHRISTOPH COX . DESIGN : ITS ABOUT WALLPAPER . COMEDY INTERVIEW with Andre HYLAND . John DOE . Aimee MANN . Chris STAPLETON . BLACK IS BEAUTIFUL : KWAME BRATHWAITE'S New HARLEM RENAISSANCE . DANNY LYON at THE WHITNEY MUSEUM + R. CRUMB at SEATTLE MUSEUM . TUPAC + ICE CUBE PHOTOS Mike MILLER . "LEGENDS OF THE FALL," WRITER : JIM HARRISON .

The ALEX HARRIS Interview

Tap To READ Alex HARRIS : "When I had the idea to photograph the landscape of northern New Mexico through the interiors of the cars of people who lived there, I’d been living in northern New Mexico on and off for almost 15 years and working in color there for about five years with a view camera. I saw myself as making the portrait of this region without including any actual people in the pictures. So I photographed extensively inside homes, whose decoration was primarily the domain of women, and the outsides of homes and in the fields, which was primarily the domain of men. In photographing these spaces, in a sense I was portraying the people who had created or shaped those spaces over the years. I wanted to represent the younger generation, and the spaces they controlled and decorated were the interiors of their cars."

Read The LITERARY 2016 Edition

TAP TO READ The John STEINBECK ICON Essay By J.A. TRILIEGI : "Question : What is it, that makes a good writer ? There are over a million answers to that question, simply ask a million writers. Each have their own rules, codes and exercises. John Updike adhered to writing three pages a day, before lunch. Charles Bukowski enjoyed a nice bottle of wine and the peaceful patter of classical music, deep into the night. According to John Steinbeck, in his Nobel Prize winning speech, there are many things a writer cannot think, be or do, to be considered, one of the gang. 1-You may not be Exclusive. 2-You may not be Separate. 3-You may not lack passion..."

ROBERT FRANK: THE AMERICANS

An APPRECIATION PIECE by Joshua TRILIEGI: "Photographers around the world revere Robert Frank's contributions to the image pool. Museums of the National and International variety create anthologies, catalogues and booklets attempting to put into perspective the precise importance of Mr. Frank's work. Art galleries and private dealers invest tens, if not hundreds of thousands of dollars in reproducing and reselling the Robert Frank catalogue to new collectors at higher and higher prices each year. Robert Frank's photographs have become iconic, the images are American to the core and yet, he was an outsider, a beatnik, an immigrant, a visual poet... " TAP IMAGE TO READ ARTICLE NOW

REDFORD'S QUIZ SHOW at 20

Tap to READ BUREAU FILM : "This is a large film, with a brilliant cast, a flawless tone and leading actors that include John Turturro as the whistle-blowing contestant Herb Stempel and Ralph Fiennes as Charlie Van Doren, a wealthy second generation Columbia University teacher who gets sucked into cheating himself, the public and his families reputation simply by allowing the network's television producers of The Quiz Show entitled, "21" to, "… give him the answers." Which are said to be, "… sealed in a bank vault." Enter investigating lawyer and Harvard graduate at the top of his class, Richard Goodwin, played here brilliantly by Rob Morrow. A former clerk for Supreme Court Justice Frankfurter, who is on the legislative subcommittee for oversight..."

ON THE FILM SET : Raging BULL

Tap To READ J. A. TRILIEGI ON THE SET: A Man in a hooded, leopard skin robe walks down a long hallway while a group of men push aside those standing in his path. We hear a crowd of thousands cheer the man on, "Jake Jake Jake …" they begin to chant. He is wearing boxing gloves, this is a championship fight, the crowd is dressed in their finest, the men are wearing suits and hats, the women are wearing jewelry, the place is filled with cigar and cigarette smoke, sailors, businessmen, middle aged characters scream the man's name over and over, the women smile as he passes by, his trainers walk in front of and behind the man as he walks down the pathway toward the ring, the volume of the crowd amplifies as the man gets closer and closer to the large roped off square canvas at the center of the arena. The man in the leopard skin robe enters through the ropes, a nondescript fellow with a microphone introduces the man in the robe, the crowd goes wild with frenzy, people are shouting, clapping, everyone is yelling something and then, suddenly, a quiet gent behind a camera yells, "cut" and the place goes silent, the action ceases, everyone settles and a pensive discussion between the crew behind the camera ensues.

BRUCE SPRINGSTEEN: ICON ESSAY

Tap To READ: Bruce Springsteen tells stories. He knits a good yarn. He knows how to handle the crowd. Like most artists, he was a few steps ahead of the audience. Looking back to his debut album, entitled, "Greetings from Asbury Park," it is now clear that, Bruce Springsteen is not just a great singer, performer and musician, Mr. Springsteen is that rare and individual voice, both on the stage and more importantly: on paper. He is a poet. When the world was still reeling from Vietnam, from the end of The Beatles, from the shadow of Richard Nixon and the slow, but steady death of the once powerful 1960s cultural revolution, this artist released an album that was miles and miles, ahead of his audience.

GEORGIA O'KEEFFE ICON

Tap To READ The BUREAU ICON ESSAY: Georgia O'Keeffe, as a person, was precocious, defiant, intelligent, unwavering and spirited. Throughout her education and early years as a painter, she produced an original abstractionist style that had preceded a group of New York painters of the male variety that has, to this day, remained wholly original, breathtakingly expansive and sexually charged in a way that empowers feminine energy and iconography. O'Keeffe rejected analysis of her works from start to finish, from her early years in New York, to her later years in The West, everyone seemed to get it wrong. So then, let us look again at the paintings and life of Ms. Georgia O'Keeffe and see if we can put this incredible body of work into a new and contemporary context with a fresh eye and revisionist look at this phenomenally bold American.

Pages

CINEMA

BUREAU OF ARTS AND CULTURE MAGAZINE FILMS IN RETRO REVIEW

QUIZ SHOW at TWENTY

THE BUREAU of ARTS and Culture Magazine FILM INTERVIEW TOM HAYES : DOCUMENTARIAN

BUREAU FEATURE STORY MARTIN SCORSESE : One of AMERICA's Most Important Film Makers

BUREAU OF ARTS AND CULTURE MAGAZINE : FILM

TRIUMPH OF THE WALL

BERT STERN: ORIGINAL MAD MAN

BUREAU FILM : ON THE ROAD

DIRECTED BY WALTER SALLES

STARRING : SAM RILEY, GARRETT HEDLUND,

KRISTEN STEWART & KIRSTEN DUNST

REVIEWED By Joshua A. TRILIEGI

BUREAU FILM : THE BEAUTIFUL COUNTRY

Directed by Hans Petter Molland

Starring Damien Nguyen

Playing on HBO